We’ve been down with XI for some time over here at SR. The producer from Toronto last year released music under the two lettered moniker on Immerse, Surefire Sound, Formant and Surface Tension as well as commemorating the very first plate for Orca Recordings – on which he returns for this, the label’s first release of 2011. Also working under the Ultragamma guise on some more contorted pseudo hip hop/electronic stuff it’s been his heavier handed tracks like ‘Ghost’ and ‘Slippin’ that have had the most impact up until this point, but here he takes a slightly more colourful side-step with the two cuts on offer. In some ways it’s a natural follow up to Orca’s last outing, the fantastic ‘Phoenix’ by Hyetal, but hands down this is XI at his most supple and funky.
Sitting somewhere in the micro-bubble that connects the dots between the shiny boogie friendly house of recent Night Slugs outings from the likes of Jacques Greene and Optimum, the aforementioned Hyetal and the flexible Sepalcure on Hotflush, ‘Gamma Rain’ hides a whole heap of brooding melancholy funk thats brought on by shimmering synths and expertly cut up jazz loops. Paired up with some seriously flexible wood carved garage beats this one really hits home hard – a low key anthem in the making. Then we get ‘Medicate’, which doesn’t quite hit those highs moving instead in deeper more spacious circles it’s got a subtle vibe to it but harbours plenty of weight. The colour and personality running through it sounds like the soundtrack to orbiting the earth in the Mir space station while playing zero-g pong.
Highly addictive.
Words: James Balf Out: 31st January 2011
XI – Gamma Rain [Orca]
XI – Medicate [Orca]
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XI was also named one to watch for this year earlier this week by FACT. Check his minimix and interview here:
Tracklist:
XI – Medicate XI – Nitelite XI – Gunnery V XI – ArmourHP XI – Virtualayz
XI is one of those cats that had us all hyper from the get go way back in January of this year. Releasing two plates - the debut release from the Orca label and bits on Immerse - in tandom he hit out with a deep kind of toughness. Tracks like ‘Ghost’ were a little reminiscent of the way Headhunter and Modeselektor hit, with all that warming darkness of the bassline mirroring the serious pressure of the drum work the Canadian producer was pouring in.
Since then though, he went quiet, reportedly holed up in his studio working on a lot of music. With a flurry of communication in the past week or two, its evident he’s aiming to go big in January of 2011 too with another single release imminent, again for the Orca stable, at the tail end of the month. ‘Gamma Rain’ and ‘Medicate’ both plot of decidedly more melodic route for XI, melding ideas and snatched sounds with a more stuttering fusion of drum patterns. They’re more colourful, both tracks blessed by a producer who seems to have found his feet somewhere different, combining his love for the slower more breathy climes of his hip hop tempoed work and that punishing snap he’s delivered so well previously.
In anticipation there’s a generous gift floating around cyberspace as of now: a free download of XI’s ‘Nitelite’ – a seductive roller that keeps banging ever rising upwards – which you can as always, grab at the link below...
Punch Drunk serves up a massive collaboration from label boss Peverelist and collaborative tour de force Hyetal, whose first release on the imprint came sharing production duties with Blunted Robot Shortstuff at the turn of the year. Following big singles from each part of this production team - Peverelist’s ‘Better Ways Of Living’ came out recently on Punch Drunk and the freshly minted Orca Records released ‘Pheonix’ from Hyetal a month or so back - it’s not the first time the two producers have worked together with Pev’s remix of Hyetal’s debut release ‘Pixel Rainbow Sequence’ twisting the original in a trippy number that still sounds like nothing else around. This time the two hook up for a duo of original productions with Peverelist’s knack for hypnotic techy dubbed-out sounds and Hyetal’s bittersweet melodic sensibilities merging perfectly.
The two tracks ‘The Hum’ and ‘rrrr’ feel like early electro experiments that were forgotten but dug up, rearranged and lovingly finished especially to move dancefloors. There’s a retro feel in there but it’s one that’s brought on by the melancholic melodies and synthesized sounds rather than any kind of revivalism. You can hear Peverelist’s swirling dubbed-out percussive ticks and bumpy rhythms and Hyetal’s knack for shimmering synthesized melody in both of these tracks and as a result the rhythms feel hypnotic and introspective but the bright synth tones and subtle funk keep them from being ultra deep eyes down material. With a slightly unnerving uplifting quality the tracks hit that magic bittersweet middle ground that never fails to deliver in the dance.
Hyetal has remained one of Bristol’s most underrated – or at least underexposed – producers. While many from the city’s sizeable musical community have been making real waves over the last couple of years, with highly acclaimed singles and albums from the likes of Peverelist, Guido and Joker gaining attention among a wider audience, his music has tended to remain steadfastly below the radar. Which is perhaps a little surprising, given that it’s among the most richly melodic, thoughtful and downright soulful dance music currently being made. ‘The Last Time We Spoke’ was among my favourite releases of last year, and the hip-hop infused ‘Pixel Rainbow Sequence’ is a more than worthy match of anything the purple trio have yet committed to tape.
Hopefully his latest release should launch his star that little bit higher. It’s commonplace for bloggers to rant about everything coming out of the post-dubstep milieu as ‘next level’, but there really has been very little released recently with anywhere near the flair for melodic invention Hyetal displays on this EP for Snugfelix’s Orca Recordings. It’s the same tricksy, simple-yet-effective grasp of dynamics and musicality he brought to the tracks on his excellent collaborative twelve with Shortstuff – unashamedly larger-than-life, both sonically and emotionally, but never overblown. ‘Like Silver’ thrives off the same frosty calm as ‘We Should Light A Fire’, building from drifting pads into a driving, Hotflush-esque house/garage hybrid, avoiding the thrill of an explosive climax for something less tangible and far more beautiful.
That said, if ‘Like Silver’ is a lit touchpaper slowly consumed by its own flames, ‘Phoenix’ is the resulting atomic explosion, a rebirth that bursts into shards of a thousand colours. In the mix it dwarfs everything else around it, like lying on the ground staring at the millions of stars in space, and it’s certainly the finest thing he’s ever put his name to. Have the rewind ready for this one, because it bears repeating. A lot.
Bristol's Hyetal completely surpassed our expectations last year, providing one of our very favourite Sonic Router mixes and releasing vinyl encoded with his music on Formant, Reduction and Soul Motive before 2009 was out. He also launched 2010 in style, with the immense collaborative 12" with Shortstuff on Punch Drunk - which is still heavy in rotation at SR HQ - so we welcomed the polite and informative email we received from him this morning with a high level of glee.
Touting his mix for the Lucky Me collective - which just went live last Friday - he went on to divulge that his "next release will be my tune 'Phoenix' on Orca Recordings, after the XI/Headhunter 12", so it'll be sometime this summer..."
"I've been collaborating a lot as well as writing solo; new stuff with Shortstuff, Peverelist and Baobinga will be surfacing on various labels later this year and there's a bunch of remixes on their way too... so there's lots on the horizon."
Anyone not familiar with the work and releases of the Bristol based Soul Motive label should really take a long hard look in the mirror and analyse what they see cast in the reflection. Having released Joker’s breakout ‘Snake Eater’ alongside tracks from TRG, Hyetal, Headhunter & Invisible, Geiom and soon Eleven Tigers, the label and its ‘big boy’ full colour artwork should definitely be kept within earshot.
To commemorate the launching of a slick new website the crew invited Geiom to put together a mix, an invitation the Berkane Sol bossman accepted with vigour:
“As ever, I like to start out with something unexpected, reference the older music which influences what I do now, hype current tunes that I'm feeling, and push forthcoming Berkane Sol material,” Geiom told us when we asked how he approaches such an opportunity. “I love the challenge of mixing from house tempos up to the 140 region, but it does requires some careful tune selection to make it work.”
Keep an eye out for forthcoming releases by Bowly, Hem, Shortstuff, Siobhan Lynch and Alex Zen on Geiom’s Berkane Sol imprint and international readers can catch him at Dub War in New York, at a Planet Mu night in Belgium and at “a festival on a Greek island with RSD and Subeena” in the coming weeks. Check his myspace for further information.
The younger brother of the Kemp clan, Martin, drops what I think is the third [?] (we were the first, but who's counting/gloating...?) in his line of mixes, ahead of the Accordant show on the 26th March at the Rhythm Factory, London.
The line up is pretty much flames with 4 Rootah favourites vying for your dollar bills... Ikonika, Martin Kemp, Hyetal and Greena (who duppied fabric when he played at the Apple Pips night) are all on the bill alongside ledge Sticky and local support.
01. Brackles and Martin Kemp - Untitled, 02. Donga and Blake - small hours (Geiomix) 03. Procedure - Sunshowers 04. Martin Kemp - Terr 05. Rishi Romaro - African Forest 06. Deep Teknologi - Anthem 07. Zinc ft Ms. Dynamite - Wile Out 08. Brackles - I Can’t Wait 09. United Sounds of London - Making Love 10. Martin Kemp - What You Got 11. Bok Bok - Citizens Dub feat. Bubbz
Bristol's grasp on dubstep is undeniable... There's something about the city that breeds great music, from the hyperactive colouration of people like Joker, Gemmy, Guido and Hyetal, to the deepness of Pinch's Tectonic imprint (home to 2562 and Jack Sparrow amongst others) and beyond into the technoid void of people like Peverelist and Kowton.
And so its with a smattering of smugness we present you with Rhythm Factory's Friday line up bringing the best of the South West to East London...
Pinch Peverelist Redlight Gemmy & Guido Hyetal DJ Derek
Venue: The Rhythm Factory Date: Feb 26th Doors: 10pm - 5.30am Cost: £5 (Advance)/£8 NUS/£10 Door After 12
The Bristol based Soul Motive imprint has slowly been carving out a niche for itself, quietly bustling, unearthing smash 12"s from Joker ('Snake Eater') and TRG ('Move Dis'), Hyetal ('Gold or Soul' b/w 'Neon Speech'). Word on the vineyard is that the boutique label - famed for their big boy, full colour artwork - have numerous projects on the way, including an album from Eleven Tigers, and this showcase mix of the label's forthcoming output seems to support that theory ten fold.
Keen followers of this blog should know just how much of a lingering presence that Bristol based producer Hyetal's mix for us had on us when it dropped all those months ago (audio and interview here). Well... now the boy dunn did a FACT mix...
Julio Bashmore - Around (Forthcoming Soul Motive) Mosca - Square One (Dub) Doc Daneeka - Deadly Rhythm (Dub) Shortstuff & Hyetal - Don't Sleep (Dub) NB Funky - Frequency (White Label) Brackles & Shortstuff - Pipey D (Dub) Headhunter - Love Dup (Forthcoming Soul Motive) Starkey - Knob Twiddler (Forthcoming Planet Mu) Sully - Toffee Apple (Dub) Guido ft Aarya - Beautiful Complication (Forthcoming Punch Drunk) Hyetal - Gold Or Soul (Soul Motive) Gemmy - A Night On Da Wonk (Dub) Hyetal - Pheonix (Dub) Prince - I Would Die 4 U (Warner Bros)
He may have changed the colour of his promo triangle (pictured) but its evidently not the only thing Hyetal has been working on of late. Along with remixing Starkey and a slew of great collabos with Shortstuff he just put together a superlative guest mix for Electronic Explorations which you should definitely download - if you aren't subscribed already.
Known to us only as Dave, Hyetal has pricked up the attention of many with his productions, obtaining that hallowed MAH mix slot and garnering releases on Formant, Reduction, Planet Mu and (imminently) Soul Motive. His beats even recently prompted a member of Californian crunk smiths Lazer Sword to describe his music as feeling "like... I just won a marathon race and I'm at the dubstep rave and everyone is pouring champagne on me and I'm eating wedding cake with all my ex-girlfriends... and they just told me they still love me. All of them."
Suffice to say his music demands your attention. We tracked him down to an IP address, threw down the mix gauntlet and asked him a few un-intrusive questions.
Sonic Router: Can you provide those who may not know you with a bit of background info?
Hyetal: I’m originally from Southampton but Bristol has been my home for the last 5 years. I make bass heavy melodic music. My first release was on Formant Recordings, a Texas based label run by Sines.
Outside of music who are you? What do you do on the daily?
I’ve just finished uni. I’m rewarding myself with a few months to concentrate on beats and stuff.
How did you first get into making music? What was it that infected you to do produce?
I’ve always been on it in some form. I played in bands as a kid but it was hip-hop that got me interested in programmed music. I had an MPC and used to make sample based beats. I wasn’t really into making tunes with computers until I started my degree in 2005.
What aspects of dubstep connect with you, and similarly spur you on to continue producing?
The lack of defined rules. I can draw influence from the strangest reference points and some people will still dance to it as long as there’s a sub under it.
What’s your production set up like? Has it changed a lot since day dot?
Yeah I used to be nearly completely sample based. I had my MPC, records and a couple of analogue mono synths for bass and FX. I managed to blag a laptop when I went to uni, so now quite a bit of what I make is logic and soft synths.
Your part of the new wave of Bristol producers making moves at the moment, it’s almost like new blood is coming through all the time and adding so much to the scene. What’s the city like for you to make music in and what’s it like having that network around you?
There are some amazing producers, labels and nights. Most people have been really supportive, and I chat to a lot of people regularly to swap tunes and that.
Who do you consider to be of great influence on your output?
That’s a really tough question. Without wanting to seem non-committal there is genuinely loads and I could never pick just one. I suppose the main influences that are most relevant on my current output are: Timbaland, Boards Of Canada and John Carpenter.
Your ‘Pixel Rainbow Sequence’ 12” is out now. How did you link the Peverelist remix and the release? What’s the inspiration behind it?
I wrote ‘Pixel Rainbow Sequence’ in 2007. A lot of the music around at the time was really dark, some of which I liked, but a lot of it I found very generic. I wanted to make a tune that was uplifting and nostalgic. It was made during the transition from writing on the MPC to logic so the main parts were sampled and sequenced in hardware. There’s loads of stuff in there, mega drive samples, little bits of old disco tunes, a rim shot sample from an old band practice I found on a tape. I sent it to everyone I knew in Bristol at the time, Pev and Diccon had both been very encouraging about it. Diccon wanted to release it then but he was having some problems with the label. Last year he told me it was back on but it needed a b side, I’d never had anyone remix a tune of mine before so was interested in going that route. Pev is a friend and someone who I have total faith in musically so he was an obvious choice.
There’s a lot of talk of synesthesia flying wildly around at the moment, mainly in relation to the purple wow sound, but - much like PRS’ title - your sound seems more like an amalgamation of colours, rather than a block shade. What colour would you say use to describe it and why?
I would totally agree with you... can I choose all of them please? I do especially enjoy silver, purple and anything neon though.
Your Shortstuff collabo, ‘Ice Cream,’ is up on your myspace. How was it working with him? Who else would you like to get in the studio with?
Yeah wicked, we did it all online which was an interesting process. I’ve written another tune with him and the two will be released later in the year but we’re supposed to be keeping details quiet for a bit. I want to write more with Shortstuff and I’m already collaborating with a couple of other people.
What else have you got coming up?
‘Pixel Rainbow Sequence’ came out on Reduction this week, I signed ‘We Should Light A Fire’ to the next Mary Anne Hobbs comp (‘Wild Angels’), that is out on Planet Mu on the 14th. ‘Neon Speech’ and ‘Gold Or Soul’ should be dropping on Soul Motive very late this month or early October.
I’m playing at Fabric on 11th September and have a bunch of other stuff booked, including most Season 5 nights at which I’m a resident in Bristol.
If you could remix anybody who would it be and on the flip to that who would you most like to remix you?
In the realms of fantasy I’d really like to remix Sa-Ra or Boards of Canada and would be stoked if they remixed me.
Can you take us through your mix that you’ve done for us?
It’s pretty much a reflection of the kind of sets I’ve been playing recently... gradually working the tempo up. The Brackles, Martin Kemp and Shortstuff tracks are both sick, those guys make amazing beats. There’s some of my forthcoming stuff in there, a new slower thing I made called ‘The Rhythm In Light’ that I still need to properly finish. The Untold track is incredible; I’ve been feeling all of his newer bits... I obviously love all the tunes, hopefully there’s no filler.
Have you got any words of wisdom for the interweb?
Dylan Richards is doing his best to live up to his mindfuck moniker of King Cannibal, after stirring up dancefloors with his pristine smattering of hoover bass and dancehall drum patterns on tracks like 'Arigami Style' and 'Virgo' and naming his forthcoming album project, 'Let The Night Roar,' after a quote from Jim Jones, the main protagonist of the Jonestown Massacre mass suicide (the greatest singular loss of American civilian life pre 9/11).
Ahead of his album's release later this month and his appearance at fabric next Friday, he's passed us this, a dub refix of his Aviv Geffen remix, an ample showcase of what we like to call his more "thoughtful" production style...
After somewhat of a forced hiatus, ThinKing’s Reduction Records imprint has returned to the public sector with a deep and sinister vision on this platter from Elemental, proving in no small measure that the dark, shadowy recesses are very much alive in dubstep today. Tough and techy junglist vibes roll out like thunder across the two heavy weight floor shakers with both cuts managing to sound like they come from a different world; one where giant creatures speak only in bass bubbles across the open expanses of space, while they work tirelessly on the construction of an all conquering space vessel.
‘925’ comes on like the spaceship’s amplified control panel, all whirring, glowing sounds with dubbed out bleeps and jungle like techy breaks that roll out under a solitary, wailing female voice. It’s when the control panel sounds switch up, infusing themselves with a sudden burst of energy before the bass drops that this track really comes to life. The bass is dark as hell the down low subs pound your stomach as alien jabbers shake the rest of your upper body.
The flip side comes in the shape of ‘Arise,’ which takes spaced out synth hooks and places them firmly up front alongside the rattling drums, before Elemental really lets fly with the bass weight. The bass lines on this one drag you in; they’re addictive and sound nothing short of massive as the snare begins to sound more and more like a heavy-duty cyber hammer of some sort, smashing metal in an unknown atmosphere.
Scottish producer Gravious, has re-appeared with a glut of live shows, after a seemingly year long hiatus from releases, after 3 singles on HotFlush and its sub label Scuba. His recent 'Futurist EP' (full review here) for the London based Highpoint Lowlife label was reportedly inspired by visions of the future fitting considering that on the strength of it and of his own productions his future is as bright as a certain mobile phone companies idea to give away 2 for 1 cinema tickets.
We caught up with him to learn a little something while we nabbed our 20th exclusive mix.
Sonic Router: Can you provide those who may not know you with a bit of background info?
Gravious: Yes! My name is Ali, and I produce slightly leftfield Dubstep tunes under the alias Gravious. I'm an Edinburgh boy, but have been based in Glasgow for the last 8 years. My first release came out on Scuba, a sub-label of HotFlush Recordings, back in 2006. That was followed by 3 more on HotFlush, and more recently by an EP on Highpoint Lowlife.
Outside of music who are you? What do you do on the daily?
Outside of music, I am still Ali, but I do a 9-to-5 for an organisation distributing funding money to voluntary and community projects, as the music alone doesn't keep me fed and sheltered.
When did you get into producing?
My mate Rob showed me the basics of production back in 2001, and it really took hold over the next few years. Before then I'd played guitar and stuff, and been well into music, so it seemed like the logical step as I got into more electronic styles.
What is your set up like now compared to back then for making music?
To be honest, I'm still on a pretty basic setup compared to most! I just have a PC, a small midi keyboard and a pair of speakers. Most of the software I use is about 5 years out of date, and I don't use much in the way of plug-ins, but the stuff I do use I know inside out. I kind of like being limited in some way, as you can totally lose yourself in all the hundreds of synths, VSTis and stuff out there. I've used a lot of those things, but I find it slows down the creative process if I have too many...
What first sucked you in to dubstep?
I first heard dark-garage and early Dubstep through J Da Flex and Femme Fatale when they were both had 1Xtra shows back in 2004, and that was what really hooked me on the sound. There were tracks they played that just sounded like nothing else – futuristic and bass-heavy, and with really different beats. From there I started buying records, and checking out the forum on the old Dubplate.net, which always had mix-sets and Rinse shows posted up – which was about the only way to hear that stuff up in Scotland. It was about then, 04/05, that I also started producing Dubstep stuff myself.
Gravious – Subterfuge [Hotflush]
There is loads of quality music coming out of Glasgow your hometown at the moment do you get mixed up in all the goings on up there and what are you really feeling at the moment?
There is indeed! Obviously Rustie is putting out some massive tunes, and has been for some time now – likewise HudMo. I'm also feeling Darell's beats at the moment, after seeing a few of his live sets at my mate's night, so check him out.
There's a really healthy scene for that kind of off-kilter bass heavy stuff up here, which is wicked, although I've not been too involved with those guys directly. There are also some really good Glasgow based people on Highpoint Lowlife too – check out The Village Orchestra in particular. I've not been playing that much in Glasgow recently actually! Which is a shame (hint hint promoters, ho ho), I think I need to get myself out there a bit more locally.
Who is exciting you musically at the moment?
In dubstep, people like Hyetal, Peverelist, Untold and Joker are all really doing it for me at the moment. They all have a distinctive sound, and have interesting stuff going on in their tracks that set them apart from much of the rest of the scene. There are always others too, but I have a poor memory! Otherwise, ‘Mirrored’ by Battles has been on constant rotation on my player for the past year.
How did your latest release the ‘Futurist EP’ come about for Highpoint Lowlife and what was the inspiration for it?
Originally, Thorsten from Highpoint Lowlife approached me about some tracks for a compilation album project, at the start of last year, but eventually that ended up being a 3-track EP that came out in May. The three tracks weren't written specifically as an EP, and in fact I made ‘Vultures,’ the second track, back in 2007. It came out of my anger at corporate greed in Africa, as it happens (right on brother...). The other 2, ‘Jupiter Jazz’ and ‘World of Tomorrow’ were more blatantly retro-futuristic in their style, so they are pretty heavily indebted to historical visions of the future, which is something I find really interesting. You can tell a lot about a period in the past from its visions of the future, like the gleaming utopias of the 50s and 60s as opposed to the Terminators and post-apocalytics of the cold-war era.
I can hear a hint of Underground Resistance and Detroit techno in the ‘Futurist EP’ and other bits, you have that futuristic soulful melancholic vibe going on at times but with that dance floor edge, is that an important part of your sound or just coincidence?
To be honest, it is more coincidence than design, although I have been getting more into the UR/Detroit stuff recently. It must have influenced me indirectly though, I'm sure, because I can hear it when I listen to that stuff now. However, I've seen a couple of reviews of my track ‘Jupiter Jazz’ recently that claim I named it after a UR track, but I'm afraid that's nonsense! It's actually a reference to Cowboy Bebop, a slightly obscure but brilliant Anime series which I was mildly obsessed with when I made it.
There is a really melodic sound to your tracks. How do these come about, do you tinkle on a keyboard, pluck them out of thin air or just have a knack and ear for melody?
Melody is really important to me in my tracks, so it's usually the first thing I work on. So much dance music has great sounds, but no tune. Sometimes that's great, but I find it hard to make good tracks that way. For me, if I'm lucky or on a roll, I sometimes just hear something in my head, and put it down, and it works. More often though, it's just mucking about on my little keyboard and seeing what happens, then tidying it up afterwards.
I see you’ve been playing all over the world recently to everywhere from Australia to Holland what has been your favourite moment out on tour?
Running over a 2-metre long snake on the way out to a bush rave in Australia was pretty crazy! Couldn't really call that a favourite moment though... That gig was in this Mad-Max style home-made shack about three stories tall, and it had the most incredible lighting set-up I've ever seen, so that has to be up there.
The view out of the TV-Tower I played in Hungary was pretty awesome as well. Generally, it's still pretty mind-blowing just pitching up to these gigs and finding that people the other side of the country/continent/world recognise some of my tunes!
What does your live show entail?
The live show entails me with a laptop, midi-controller, keyboard and Ableton with Reason plugged into it. Basically I don't have enough arms/RAM to play everything live, so I play bits live, use a bunch of audio loops and effects, and sort of recreate the tracks again on the fly.
Tell us a little bit about the mix you have done for us, what tracks just really had to be there?
There's a bunch of tracks I'm really feeling at the moment on there. ‘Pixel Rainbow Sequence’ by Hyetal is one that I've been caning for a bit now, so I'm glad to say that will be out really soon. It has great futuristic vibes over a solid beat. I threw that DFRNT track in there too, but there were loads of other great tracks of his I could have put in – he's got some big stuff up his sleeves, a fellow Scot as well... The Kaskaad, Vaccine and Funk Ethics tracks are also belters, and the Ikonika one is a an old favourite. There is also, a cheeky first public outing for my remix of Deep Child.
What have you got in the works right now and what’s forthcoming?
The Deep Child remix is out soon on a Sub Continental Dubs 12”, and I have two remixes of tracks by German rudeboy Don Goliath coming in the next few months. I also have 12”s lined up on Pollen records, Davey Jones (a new project from the Clandestine Cultivations guys) and !113g@1 v@1u3 in Australia.
I will also be launching Gravious.com in the next week or so, so check it! It has audio for just about everything I've done, and loads of mixes archived.
Have you got anything else you want to tell us, words of wisdom for our readers?
If you do a live set, stick tennis racket grip-tape to the bottom of your kit – it stops the bass from rattling your laptop onto the floor...
