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Running Time: 00:42:20

01: Booka Shade - Planetary [Get Physical]
02: Agent 86 - Come To Roxy (Electro Funk Mix) [Vicious Grooves]
03: Rene Van Munster - You Like? [Two Tracker
04: Ben Westbeech - Dance With Me (Switch Mix) [Brownswood]
05: X-Press 2 - Give It More (Switch Mix) [Skint]
06: Riton - Hammer of Thor (Roman Flugel Mix) [Souvenir]
07: Simian Mobile Disco - Tits & Acid [Wichita]
08: Machines Don’t Care - Spycatcher [Machines Don’t Care]
09: Soulwax - Miserable Girl (Nite Version) [Pias]
10: Fukkk Offf - Rave Is King [Coco Machete]
11: Mystery Jets - Two Doors Down (Duke Dumont Reconstruction) [White]

Back in business, new mix next month hopefully.

Jung

Download Here

Running Time: 01:04:01

01: M.I.A - Paper Planes (DFA Mix) [XL]
02: Nigo - March of The General [Mo’ Wax]
03: Gecko Turner - 45.000$ (Guapa Pasea Afrodisiac Soundsystem Mix) [Lovemonk]
04: Gecko Turner - En La Calle, On The Street (The Dining Rooms Afro Jazz Mix) [Lovemonk]
05: DJ Vitamin D - One For Jamie [Unknown]
06: Munk – Disco Clown [Gomma]
07: WhoMadeWho – Hello, Empty Room [Gomma]
08: Freeland – Supernatural (Stereotype Mix) [Marine Parade]
09: Will Saul – Where Is It? [Simple]
10: Kraak & Smaak - Squeeze Me (Jem Stone Mix) [Jalepeno]
11: Evil Nine - Pearlshot (Switch Mix) [Marine Parade]
12: Introspective - Submit[Sinister]
Acapella: Ol’ Dirty Bastard - Got Your Money [Elektra]
13: Meat Katie & D Ramirez - Stop The Revolution (Bassbin Twins Mix) [Lot49]
14: Bassbin Twins - ESW [Bassbin]
15: Tayo Meets Precision Cuts Downtown - Fire Good [Mob]

I think it’s about time I self imposed a ban on using that ODB acapella as well really, but it just works so well with everything I can’t help it…

Like most things in life, DJing is often governed by rules about what you can and can’t play, what is acceptable and what isn’t. Stacey McDonald, aka Jung, is a perfect example of just how good it can sound to not just tear up the rulebook, but grind it down to a fine paste. Ahead of the next Chew The Fat! @ The End, he took some time out to answer a few questions about genres, blogging, and the state of DJing today….

You can have a  read of it here…

http://www.thefatclub.com/interviews/chew-the-fat/jung.html

Thanks to Wub for the interview.

Download Here

Running Time: 01:12:08

Intro – Parallel Worlds [None]
01: M83 – Waves, Waves, Waves [Gooom]
02: Sylvie Marks & Hal9000– Baby I’m Electric [BPitch Control]
03: Munk – Disco Clown [Gomma]
04: WhoMadeWho – Hello, Empty Room [Gomma]
05: Freeland – Supernatural (Stereotype Mix) [Marine Parade]
06: Will Saul – Where Is It? [Simple]
07: Spektrum - Don’t Be Shy (Speaker Junk Mix) [Nonstop]
08: Basement Jaxx – Take Me Back To Your House (Speaker Junk Mix) [XL]
09: Kasper Bjorke – Back & Spine [Plant Music]
10: Duke Dumont – Lean & Bounce [Turbo]
11: Walter Meego – Through A Keyhole (Sinden & Solid Groove Mix) [Minds On Fire]
Beats: New Young Pony Club – Ice Cream [Modular]
12: Crookers – Love To Edit [Unreleased]
13: Bonde Do Role – Marina Gasolina (Fake Blood Mix) [Domino]
14: Simian Mobile Disco – Simple [Wichita]
15: Unkle – Restless (Fake Blood Mix) [Surrender All]
Sample: Micronauts – Eros [Citizen]
16: The Whip – Trash (Crookers Mix) [Southern Fried]
17: Lethal Bizzle – Selfridges Girl Not On MySpace (Boy 8Bit Mix) [V2]
18: Blackstone – L.U.V (Instrumental) [Mena]
Acapella: Underground Sound of Lisbon – So Get Up [Tribal]
Acapella: Ol’ Dirty Bastard – Got Your Money [Elektra]
19: Florence & The Machine – Girl With One Eye [Unreleased]

Yea So that’s the second time I’ve used Ol’ Dirty right at the end of a mix, but I couldn’t help it. It just fitted so perfectly with that Blackstone tune that it ended up on there anyway.

myspace.com/jungcantdj

Feel free to add me, I have only got about 20 friends at the moment, which probably illustrates perfectly the amount of talent I have.
I’ve also written out a new biog / about me type thing, which you can find on aforementioned MySpace or also here

Oh and I’ve updated my listings as well.

Is it wrong, or can exceptions be made in the light that it allows the music to reach a wider audience who may not have discovered the aforementioned tunes before?

I have thought about the idea, but often find myself feeling that if it were something I were to do (which I doubt I would, for various reasons) it would hinder my progress as a DJ, by allowing me to become known as someone who doesn’t pay for his music (See disclaimer at bottom of post*), although I do know of people who are downloading music from Hype Machine and then going and playing it in a packed club an hour or two later (I am not saying this is right or wrong).
Offering music on a blog to download for free would probably also hinder being given promos, as although a clause is ’signed’ stating the music wouldn’t be shared, an element of doubt would probably come from the artist or label.

On the other side of the argument are artists and labels who see the blog as an entirely different promotional tool, and actually allow their music to be blogged and downloaded in order to gain them exposure, perhaps even sending the blogger free tunes up front as exposure, this functioning as a more up to date promo tool. Also more functional than the current model, as lets face it, promo lists are a dated concept, sending records to DJs who are pretty likely to think the record is shite and put them in the ‘melt down and make bowls with these’ pile.
Whereas in this case, a DJ can download tunes that HE/SHE wants and play them out, giving the tune and label more exposure by being played in public, than it ending up in the bin because it wasn’t to their tastes.

The final point, is that of course there are people who will download the tunes, whether they have been released or not, and then not purchase them if they like them. But my opinion is such that these people would not pay for the music anyway, and would most likely download their music for free from another source.

It’s an interesting topic I think, with positive and negative points to either side, one being a potential financial loss, the other being increased exposure for the artist and label, thus leading to a potential financial gain.
At the end of the day, there is no way Justice and the majority of the Ed Banger camp (I’m using this as an obvious example) would be as huge as they are without the hundreds of thousands of kids chasing the next big thing downloading their tunes from blogs.

I leave you with this thought, it functions in the same model as your local heroin dealer, offering you a cheap buzz at a discount price, he makes a loss but before you know it you have a £100 a day habit and he is laughing all the way to his own dealer and quite possibly incarceration.

*Disclaimer: I can assure you for the sake of the argument, and before there is a witch hunt at my door, the only music I download for free and play out is unreleased bootleg remixes, any legitimate tunes are purchased before I play them out, although this is something done for my own conscience and support of the artists more than anything

So, what have I been up to since we last spoke?

Well, I haven’t been DJing much this last month, but I am getting back on the metaphorical horse and have landed myself a few decent gigs over the next few months, the one I am most excited about being a few upcoming at Chew The Fat @ The End, London in May some time. Warming up for (probably) Meat Katie, Riton and Alex Metric, this is likely to be the biggest of my humble DJing career so far, it’s safe to say I am shitting myself, but it should be a laugh.
Other than that there is Frustrated Disco Machine @ Blue Mountain, Bristol in April, some charity shit in Southampton in May (luckily I don’t have to kiss babies or fellate the mentally retarded) and a few secret small festivals over the summer.
This is good but I need to pull my finger out of Colin Norris’ latest victim and get myself noticed a bit more, promoters this means you! (Yes you Marcus, if you are reading this)

I am also probably going to start doing a bit of a Palms Out Sounds and post some download links to tunes on here as well. I used to think it was morally wrong to do it, but everyone seems to be these days and I think it’s great to share the music I love with others, after all that’s why I started DJing.
Besides, I remember reading somewhere that 70% of American males responded to an anonymous poll admitting they would copulate with a sexually mature 13 year old if she consented and the law allowed it, so who really gives a shit about morals?!

In other news, Jeremy Beadle died, I laughed a bit.

Download Here

Running Time 00:55:12

01: Jung Vs. Mr. Oizo – Analog Wormz Intro [None]
02: M.I.A – Bucky Done Gune [XL]
03: SebastiAn – Ross Ross Ross [Ed Banger]
04: Mr. Oizo – Half An Edit [F Com]
05: Chemical Brothers – Salmon Dance (Crookers Mix) [Virgin]
06: Switch – A Bit Patchy [Dubsided]
07: Bodyrockers – Round & Round (Switch Mix) [Mercury]
08: Dusty Kid – The Cat (Crookers Mix) [Southern Fried]
09: Brick & Lace – Never Never (Switch Mix) [White]
10: Outlander – Vamp [R & S]
Beats: Plump Djs – System Addict (Jung’s Daniella Westbrook Edit) [Unreleased]
11: Baobinga – The Bashment Track (Jung Edit) [Unreleased]
12: D.I.M – Is You [Boys Noize]
Beats: New Young Pony Club – Ice Cream [Modular]
13: SebastiAn – Walkman (Re-edit) [Ed Banger]
Beats: New Young Pony Club – Ice Cream [Modular]
14: Justice – Phantom Pt 2 (Boys Noize Mix) [Ed Banger]
15: SebastiAn – Killing In The Name of Sebastian [Ed Banger]

Download Here

Running Time 01:13:28

01: Heidi vs. Riton - Vejer (Padded Cell Remix)
02: Misc - Shadow Hunting
03: Deepgroove - Elephant Charge
04: Format B - Vivian Wheeler
05: Perc and Fractal - Up (Perc Remix)
06: Maskio - Mia Casa
07: Andre Kraml - Safari (James Holden Remix)
08: Remo - Mizar
09: Layo and Bushwacka! - Ride The Train (Album Version)
10: False Profit - Pixie Boots
11: Hot Chip - The Boy From School (Erol Alkan Rework)

If listening to that mix has more than wet your appetite, you can check out more of Fifties’ mixes as well as her stunningly excellent design work here, as well as her own podcast, which can be found here.

Make sure you check it out, this girl is one to watch for 2008…

Fifties’ Myspace
Fiftie’s Podcast

Frankly I couldn’t give a shit if Blake whatever his name is has managed to swallow his own sphincter.

Sign up at the link below and click attending to receive a free drink before 11pm & £1 entry all night.
On top of this ALL drinks are £1 all night, what a complete bargain!

http://www.facebook.com/event.php?eid=7323946198

Get your friends involved and tell them to sign up for their free drinks too!

In the Amphi:

Rob The Mod & Phil Dirt

Playing all manner of tunes from your favourite artists such as… (but by no means limited to)

Bloc Party, The Strokes, Oasis, The Killers, Daft Punk, Blondie, Klaxons, Amy Winehouse, Babyshambles, Libertines, The Enemy, The Gossip, Prodigy, Chemical Brothers, Dizzee Rascal, Jay Z, JUSTICE, Stone Roses, Charlatans, The La’s, Rolling Stones, T Rex, The Ramones, Queens of the Stone Age, Biffy Clyrro, Arcade Fire, The Arctic Monkeys, The Coral, Jimi Hendrix, David Bowie, Super Furry Animals, The Horros, Le Tigre, Yeah Yeah Yeahs, Young Knives…

Shed Bar: (All night)

Jung (Yes, this is the best bit…)

Playing literally anything he can get his hands on. Expect an eclectic yet accessible mix of chilled out dub, spaced psychedelic vibes, funk, chill out, breaks, hip hop (you get the picture).
Tunes to prick your ears up and get you in the mood for drinking, dancing and coitally suggestive grinding with your preferred partner of choice.

If you’re still reading after all this, then I’d imagine you’re already salivating more than Pavlov’s dog at a bell ringers meeting.
Get involved, get your friends involved, get your brothers and sisters involved, and if you can’t afford it, then pawn your own mother, because trust me, this is a night you won’t want to miss!

Besides, you can always buy her back at an over inflated price come Monday morning.

A small slice of the future lies in the palm of Richie Hawtin’s hand. “This will be to dance music what guitars were to rock ’n’ roll,” he says triumphantly, his eyes blazing with excitement as he offers up a sleek black gadget for closer inspection. This hand-held device, he explains, is basically the iPod of the turntable world, squeezing all the capabilities of a set of decks and a mixer into a device not much larger than a remote control. He discovered the Pacemaker, made by Swedish company Tonium, with his father and fellow geek outside Barcelona’s Soñar festival in June of this year. “I saw a huge growd gathered around a girl DJing with this small black device,” he says. “It was a huge moment.”

It is moments and discoveries like this that make Richie Hawtin’s life complete. Ever since he heard the alien sounds of Jeff Mills’ prototype electronic music show on Detroit radio as a teenager in the 1980s, techno’s reigning innovator has been captivated by the future. Since his early days DJing as a teenager with a makeshift delay effect at Detroit club Shelter, Richie has strived to push the boundaries of electronic music. His ‘Dex, Fx & 909’ tours of the early 1990s (captured on one of the first Mixmag covermount CDs) advanced the idea of what a DJ could do beyond just mixing one record into another. Records like his groundbreaking ‘Spastik’ spearheaded mutant strains of techno that have come full circle to influence today’s thriving techno scene. From his new home of Berlin his Minus record label is unwaveringly dedicated to discovering new ways of creating dance music, and his ‘DE 9 Transitions’ CD rewired the way DJs approach mix CDs (instead of a sequence of tracks Richie spliced his favourite records into individual slivers and reassembled them as one whole new piece of music using revolutionary DJ/production software Ableton Live).

Hawtin’s fascination with new technologies and ways of thinking about club music has earned him a reputation as dance music’s authority on the future, not to mention work as a consultant for pioneering companies like Beatport and Allen & Heath. He can thank his lifestyle as a globe-trotting DJ for granting him a unique perspective on the world. In the past two weeks he’s been to LA, New York, Windsor in Canada, back to Germany and on to London, Tokyo, then Mount Fuji, on to Saporo and back to Tokyo, before flying to Ibiza. He’s been in this constant flux of time-zones and jet lag for almost 17 years. “I distinctly remember a conversation I had with Jeff Mills a few years back about being futurists,” he says. “Not only because we tried to make futuristic music, but because we were living 20 years ahead of the mass population. Travel doesn’t mean anything to us; skipping over to Tokyo and back to New York in twenty-four hours is part of our routine.”

Today, firing off a volley of texts from his smartphone at the end of the Ibiza season, Richie Hawtin is as alive as he’s ever been. A blonde mop of hair makes him look far younger than his 37 years. In three days’ time he’ll host his Minus party at futuristic superclub Amnesia. It’s one of the most hotly anticipated dates on the techno calendar and a taster for what’s to come in electronic music — perfect timing, then, to pick the brains of one of dance music’s fastest imaginations on the future of club culture.

So why do you keep coming back to the future?
Because I don’t want to get old. I want to feel young and connected to the pulse of life. To me, life is an ever- changing, evolving world of travelling, meeting new people and searching for something new or exciting or better. Plus I get bored very easily.

What’s next for clubs?
I’ve been reading a lot about ‘tele-presence’ – £500,000 communication systems designed for the world of corporate America. You sit around half of a circular desk looking at screens showing a group of people on the other side of the world sitting around a similar-looking, other half of a circular desk. Imagine that in a club. To have two rooms, one Womb in Tokyo and the other Womb in London, and a dividing wall that would be a mirror image of the other city. Or imagine if you build a new club and the interior surfaces of that room are made from projections or high resolution displays, so that it can be a black club or it can be anywhere or anything. It could start to become a pseudo-holodeck, like in Star Trek. The technology is already there. Daft Punk’s LED light pyramid is an example of an object built out of a high resolution display whose images can be manipulated to move with the music.

The world is changing incredibly fast. Is it a good or a bad thing?
I have this overwhelming optimism that technology will save the day. My friends are from all over the world. Older people, especially parents, can’t understand how I can have friends like that – but physical presence doesn’t make connections between people any more. It solidifies a connection, but you don’t need it to maintain that connection. Social networking technology allows me to feel that I’m connected to my friends when I’m not physically present. Now, the scariest thing for me is that when I get old I won’t be able to travel so much and maintain these connections that I’ve made by travelling physically. But I’m optimistic that there’ll be a new way of connecting when I get to that point in my life. And I hope another advance will come when I really need it: a set of bionic ears!

How has technology changed your life as a DJ since you began playing?
A DJ’s life has changed more than that of any other performer. We’re touring all the time and this lifestyle has only become possible in the last 15 years because of advancements in technology. When I first started playing, we did everything by fax. Travelling was a very lonely experience. Now in airports I have Bluetooth connectivity with my computer so that even when I’m in a taxi I’m ichatting to my mum, dad or brother or sending a file or an email. No matter where I travel, I’m still connected to my world.

It must be weird constantly moving between time zones. Do you ever wake up disorientated, not knowing where you are?
I get disorientated when I’m in one place for too long. If I’m home for two weeks I get this strange, off-balance feeling that everything should change.

Thanks to low-cost airlines the ravers must be catching up!
Definitely. You’re now experiencing what we’ve been doing for 15 years. The advent of low-cost airlines, the creation of the EU and the Euro – all these things have made clubland explode again. Quite often these days I’ll do a series of gigs in different countries and see the same people at each one. Now it’s cheaper to go to Berlin for a night without a hotel than it is to travel nationally and drink beer all night. And thanks to social networking there’s more connectivity between people. They’re more open to different ideas, and that’s opening up new musical and artistic ways of thinking.

You’re one of the first DJs to actually do something about global warming. When did the threat start to hit home?
DJs are racking up more air miles than any other musicans. I started looking out at these beautiful sunsets while taking off from São Paolo or wherever, and thinking, ‘This is amazing, but is my enjoyment of this moment going to take away this possible moment for my son?’

So how are you making a difference?
The first idea was offsetting my carbon footprint. It was easy to calculate how many miles I was flying and by extension how much CO₂ I was putting into the atmosphere. We found a carbon offsetting company based in Berlin who calculate how much carbon you produce by flying or driving, and from whom you can buy an offset. The money then goes to environmentally conscious projects around the world. DJs make good livings, and if we can’t put a little bit of that back then perhaps we don’t deserve to live the lavish lifestyles that some of us enjoy.

But will it really help?
A colleague of mine argued that it’s not going to make a difference, so why bother? That’s fucking bullshit. The worst thing that could happen is that OK, maybe it doesn’t make much of a difference. But at least I’ve tried.

You’ve been the midwife at the birth of both Final Scratch [software that allows you to use your laptop to mix records] and Beatport. What’s next?
The Pacemaker is a whole new way for kids to become excited about music. This is something you put in your pocket and when you’re at school in the playground you can pull it out and start mixing tracks.

Does it scare you that a whole generation of kids are growing up not knowing what vinyl is?
For me I’ll always have a fascination with records because I grew up with them, but do I need them? Not really. Not only do they take up way too much space, they’re technically limiting and environmentally unfriendly. We’re moving to a point where vinyl will be a limited specialised market for people who choose to collect records as pieces of art.

Many DJs like your close friends Zip and Ricardo Villalobos argue that vinyl is far superior…
You could choose to sell vinyl to that small, non-expanding market, close your eyes to what’s happening, let everyone copy your music and just be cynical about it. Or you can choose to find a way to appease both of those things. The quality of digital is as good if not better than vinyl. Music begins life as a digital WAV file before it is mastered and turned into vinyl. But as a performer I have to learn new tools and ways of thinking in order to move forward in my art, so these arguments are irrelevant for me.

So is digital technology making music better?
Technology is democratising music and allowing more people than ever to enjoy what we do. I don’t want to explain to a kid in Ecuador why my song isn’t available on the internet if it’s only available on vinyl. I want him to hear my song, get into what we’re doing and maybe that might send him on a new direction in his life.

Now that digital music has taken sound experience close to perfection, can it get any better?
The next step for clubs is to build immersive sound environments. Instead of four stacks of speakers they’ll use, perhaps, 36 micro-speakers to spread the sound around you. This opens lots of possibilities. Now music performance is so loop-based, imagine if you could make one side of the room experience something slightly different from what people on the other side are hearing.

How is technology changing the art of DJing?
I’m a little bit bored by only being able to manipulate things in a record paradigm. When we started Final Scratch [Richie was one of the first investors in the company] we saw it as a technology bridge from the analogue to the digital world, and I feel it’s time to get off the bridge. A further step would be a larger, iPhone-style multi-touch screen. And further from that some kind of wireless hand interaction where you can manipulate different components of sound by changing the movement of your hands. It’s hard to visualise, but imagine something like the screens they use in [sci-fi film] Minority Report. You’re still using your body to interact with something digital, but through moving and pinching and grabbing you’re able to go deeper into the possibilities of how you work it. Technology can only work for a performer if it’s visually interesting fora crowd to watch.

MySpace and Facebook have changed how we make friends and plan our social lives. What’s next for social networking?
I know people working on internet sites that will one day be to music what YouTube is to video. For our scene a really good social network based upon music could be amazing. The next step could also be social networks merging with phones and next-generation GPS systems to create a device that can tell you which of your friends are nearby, and what people in a club you’re in have similar interests.

Will downloading kill music?
Last year Minus wrote our biggest royalty cheques ever because of digital sales. If people can buy stuff digitally at a good price they generally will. People don’t want to rip other people off as long as they don’t feel they’re getting ripped off themselves. To do this properly you need to be able to track what’s happening with a record and bring people into an on-demand service. Why own 100 records when you can have anything you want, whenever you want? There’s a company called Sound Cloud looking at sharing music on a global scale. But you could take things even further. Right now an MP3’s tags can tell you basic information about a track like its name or artist. But what if you could encode more than that? You could break each track down into its individual loops and elements, and each of these elements and loops would be encoded with information about what influenced them or who made them. Then you could start to build a way of tracing how a track came to be. It would work like a genetic code so that in ten years’ time you could trace a track’s family tree, looking at where it came from and the software or machines that created it.

So are you saying we should get rid of ownership of music?
I’d like to get to a place where I don’t even have to carry a computer or a mechanical storage device for music. I don’t care if I have some physical object that contains these non physical assets, I’d like all my music stored somewhere and to be able bring that list down whenever I need it. So imagine if you had this cloud where all these songs were stored and encoded and you could pluck them down in real time during a performance? But what if you want to get deeper and you want to have just the high hats from a track and map them over the sound from another song playing. This kind of interactivity is where I want to get to. Getting down to the molecular level of songs. That would be amazing.

As I said, it’s an incredibly interesting read, with the right attitude to the right points. It completely illustrates the fact that we need to move forward with the technology and times in order to harness the best for music in general, rather than sticking to the tried and tested formulas such as a man in a club playing one record after another.
Perhaps this will lead us down an alley where (god forbid) we no longer have a need for DJs, as the technology becomes cheaper and easier to use. But of course I doubt this is likely to happen, as people will always progress quicker than others, and humans always faster than the technology they can develop.

Thursday
It started off when I finished work on Thursday at 4pm, went home and then had to pack my laptop and stuff up, then get a train up to Oxford to meet Pomp, we then headed over to the Cellar Bar in Oxford centre, where I was DJing @ Eclectricity alongside the ever lovable & incredibly talented TJ Hertz and Lee Mortimer. Needless to say they both smacked the living shit out of it, and had the crowd in a frenzy, much to my dismay as I definitely had a hard act to follow, being on at 1.30am straight after Lee. But alas the crowd loved it, and although the numbers dwindled a bit towards the end everyone still seemed to have a wicked time.
Big shouts to the Swindon crew for coming up to support, as well as the Oxford heads for coming down. Extra big shouts to Marcus for having me down, and TJ for helping me set up all the kit, despite him being a little bit worse for wear.
Luckily I managed to bag a lift back to Swindon after the night finished around 3am, so didn’t end up sleeping on Pomp’s floor with curtains for a blanket.

Friday
Woke up around 3pm, chilled out for a couple of hours and then got straight back on the train to Oxford to meet James & Madz, as we were off to Eclectric’s 2nd birthday at the Zodiac.
Line up was supposed to be SebastiAn, Claude Von Stroke & TJ, but for some (still unknown) reason, SebastiAn was a no show, apparently he just never showed when they went to pick him up from the airport. Luckily Lee Mortimer was still around, stepped up and did an absolutely wicked job, so hats off to him for that.
Don’t remember much else from the night, I think TJ was pretty good though, I should’ve laid off the whiskey a bit earlier really!
Ended up back at Madz’ mate Sara’s until around 6am, until I decided to get the early train back to Swindon, just managed to get to the station in time. 20 minutes later I was in Didcot waiting for my connection, when it dawned on me that there was no connecting train to Swindon until 8am! Cue me sleeping like a tramp on a couple of benches for two hours, never again.
Got home around 9am and went to bed.

Saturday
Got up around 5pm, had a shower and all that jazz, and then got the train down to Southampton for the Out of The Void Oxjam party on Sunday, got to mates’ house about 9pm, and we ended up out drinking in Unit 22 until 4am, pretty messy but great fun, really good to see people I haven’t caught up with in months.

Sunday
Woke up stinking of alcohol and dodgy kebab.
Managed to get up around 3pm, get a KFC and then roll up to the Hobbit for the all day Oxjam party. Met some great people and wandered around with the lovely Gem harassing people to donate in pub that had somehow became nightclub.
Spoll did a wicked BBQ and managed to smoke the whole pub out, but not kill himself or anyone else, which was a bonus (possibly).
DJed from 10-11pm to a bit of a difficult crowd at first, but somehow managed to rescue it and fill the room back up with a few Prodigy tracks and a dodgy 2 Unlimited bootleg (I have no morals), I also thought it would be quite funny to just throw glowsticks at the crowd whilst DJing, and someone stuck a ginger wig on me at some point.
Then I got drunk again…

Monday
Woke up with another hangover, got the 2pm ish train back to Swindon at the tail end of a fantastic weekend.
Shout outs to Network Rail (or whatever it’s called now) for managing to have every train running perfectly on time, except for when some bellend managed to fall in front of a train moving at 100pmh at Winchester, so there was a bit of a delay whilst they probably mopped up what was left of him!

It was indeed such a brilliant weekend, which is why I feel the need to write about it. Big thanks to everyone who looked after me, booked me to DJ or let me crash at their houses, as well as all the lovely people I met.
No thanks to whoever’s idea it was to put the table with the decks on at knee height, as I have well and truly fucked my back up.

Eclectric
Out of The Void
Oxjam
Bloke Falling Under A Train

The final, and perhaps most exciting news (for me anyway) is that it is almost certain that I will be returning to the hallowed Amphi booth as a DJ in the next few weeks, quite possibly on a permanent basis. Whether Pomp will be joining me I don’t know, but I’ll see if I can twist his arm.

Anything else you want to know, drop me an email and i can find out.

Armed with what must be the best beat programming skills in the music world, Ils has attacked the difficult fourth album with absolute finesse. Still here are the deep rolling bass lines, the shaking yet crisp beats, and the melodic strings and guitars.
From the onset of the album ‘Hate Is An Illness’, you know you are in for a treat as the strings and vocals roll in, reminiscent of his earlier work such as ‘6 Space’, and ‘Only Way To Survive’. The beats roll steadily on to the upcoming single ‘Everybody Needs A Shrink’, which admittedly sounds like an unreleased track from a few years back, which of course was a work of art back then, let alone considering the work that’s been done to it over the last few years.
Every track has it’s own highlights, although I can’t help but admit that there are less stand out tracks for me than the earlier two albums, although perhaps that’s only because I haven’t given the album enough of a listen.
The tracks that are really doing it for me right from the of, are; the beautiful strings and choppy beats of ‘Music Makers’, the high paced punk stabs and chunky breaks of ‘Burn Again’, the wobbly bassline of ‘The Internationals’ and the soulful, almost Shirley Bassey’esqe vocals of ‘Lone Rider’.
Although don’t for any minute doubt that the rest of the album is sub par fillers, because you will be infinitely wrong. Those are just of course the highlights in my opinion.

Overall this is one of the albums for the year for me, and without a doubt some of Ils finest work, albeit not quite reaching the Genre defying spectacle that was ‘Soul Trader’ (but considering that is one of my favourites of all time, it’s easy to see why)
Definitely worth a buy, this is one that will be staying on the iPod for a long time, excellent work!

9/10

Botchit & Scarper

Download Here

Running Time 01:08:58

01: Air – Don’t Be Light (Mr. Oizo Mix) [Virgin]
02: Uffie – Hot Chick (Detboi’s Hot Glitch Edit) [Unreleased]
Acapella: M.I.A – Bucky Done Gun [XL]
03: M.I.A – Bucky Done Gun [XL]
04: Campag Velocet – Who Are The Trumping Men (Riton Mix) [Pointy]
05: SebastiAn – Ross Ross Ross [Ed Banger]
06: Ben Westbeech – Dance With Me (Switch Mix) [Brownswood Recordings]
07: Riton – Angerman (Riton Re-Rub) [South Central]
08: New Young Pony Club – Get Dancey [Modular]
Beats: Riton – Angerman (Riton Re-Rub) [South Central]
09: Gui Boratto – Gate 7 [Kompakt]
10: Mstrkrft – Work On You (Re-Edit) [Different]
11: Revl9n – Walking Machine (SebastiAn Mix) [Because Music]
12: Emerson & Mahatma – Underground Funk (Tomcraft Mix) [Craft]
13: Fischerspooner – We Need A War (DJ Hell Mix) [International Deejay Gigolo]
Beats: Emerson & Mahatma – Underground Funk (Tomcraft Mix) [Craft]
14: Nifty – I’m From NY [Atlantic Jaxx]
Acapella: M.I.A – Bucky Done Gun [XL]
15: Nifty – Johnny’s Not Dead [Atlantic Jaxx]
Beats: Beauty School – Disco Sux (Stone Lions Mix) [Erase Records]
16: Ursula 1000 – This Ain’t The Klaxons [Unreleased]
17: Nifty – Nifty [Atlantic Jaxx]
18: Coldcut – Man In A Garage (Dub) (Jung’s Beatless Edit) [Ninja Tune]

Much love,

Jung

Jung

PS: Everyone check out Kate Nash, great voice, no nonsense lyrics that you can relate to & she’s hot. Which is coincidental considering I actually am looking for a wife.
It’s what pop music should sound like.

Kate Nash

For those of you not lucky enough to win tickets, I would strongly recommend you check this one out anyway, it’s only 12 quid on the door. I think I will try and get down there myself, so come and say hi…

Xfm
Remix
Kitsuné

A podcast mix. By me. A memoir.

Hello, my name’s Rick. For a multitude of dull and long-winded reasons I DJ as Sick Rick. You may also know me from my records with the rather hot Alex Metric on Stanton Warriors’ Beats label. Or you may not.
Below is a podcast that was, in fact, never intended to be a podcast. It’s actually a mix I did for my mum a couple of months ago. Her favourite tunes on it are Bushwacka!’s mix of Frankie Valentine and the Zabiela mix of ‘Drink Deep’ (no shit, she likes em better than the two remixes of mine that are on there).
I tried to smush together as many different styles as I could while keeping a bit of a focus on melody (it is for a bird, after all). There’s a load of old (but still good) stuff on there, and some new bits too, including an exclusive What What What remix of Stanton Warriors’ ‘Seeker’ track.
I hope you like all of it, really I do.

Download the mix Here

Running Time 01:00:13

01: Asad Rizvi - Duel (Bushwacka! Mix) [Reverberation]
02: Dub Kult - On & On (Guido Schneider Mix) [Raum]
03: Lusine - Near Sight [Ghostly International]
04: Dean Muhsin – Gorgus [CDR]
05: Dave Brennan - Drink Deep (Zabiela Vox Version) [End]
      Sample: DJ Buck Pres. Dub Theory - Sound Bwoy [Jah Love
06: Holden - 10101 [Border Community]
07: Frankie Valentine - World of What (Bushwacka! Mix) [Sunshine Enterprises]
08: Peace division - Spun Out [Low Pressings]
09: Meat Katie & D Ramirez - Stop The Revolution (Bassbin Twins Mix) [Lot49]
10: Massive Attack - Dissolved Girl (Alex Metric & Sick Rick Mix) [White]
11: Stanton Warriors Feat. Jhelisa – Seeker (What What What Mix) [Punks]

The good news is, that after all this shite that Rick calls a mix, I will be back with a mix myself to show him how it’s done, in the next week or so.
So keep them peeled for that as well.

Sick Rick on Myspace and that