Going a long way to justify the hype, Night Slugs had dancefloor anthems coming out of their ears last year. From an outsider’s perspective it was more than pretty impressive to consider that all these tunes - Girl Unit’s ‘IRL’ and ‘Whut,’ Mosca’s sprawling epic ‘Nike’ and ‘Square One,’ Jam City’s ‘Ecstacy Refix’ and Velour’s ‘Booty Slammer’ – stemmed from the same label. Refining that output they’re kicking off a new year with their first artist album - which follows fresh in the wake of their endlessly impressive Allstars Volume 1 compilation released late last year – produced by the most stylistically consistent artist to grace the label to date, Egyptrixx.
The Toronto native picks up where his The Only Way Up EP left off; his sound spreading itself thicker across the full length sized canvas. Having dabbled a lot with noise in various forms - playing in bands as well as being a classically trained pianist – all his experience seems to feed into his current manoeuvres within dance music. You can hear that noisy dissonance in the oozing syths but it’s paired with bright, slow burning melodies and it all manages to come together into one flowing cohesive structure. It’s a subtle, more melancholy vision that he presents across this album, opting for his own manner of depth rather than the outbursts of joy personified by other, more anthemic Night Slugs releases.
Finding a sonic cousin in Ikonika’s debut album, Contact Want Love Have, released on Hyperdub last year – they both share a hyper colour sense of fun and melody - Bible Eyes is a woozy exploration of sound. There are plenty of highlights: ‘Start From The Begining’, ‘Liberation Front’ and ‘Fuji Club’ all show off different facets of Egyptrixx’s sound; the opener is all seasick piano and spaced out percussion and brooding synth-scapes that wouldn’t feel to out of place alongside Oneohtrix Point Never or Knox-Om-Pax. One of the more dance floor leaning tracks ‘Liberation Front’ twists itself into more extreme shapes, while ‘Club Fuji’ is a hard hitting, sub-loaded but spaced out grime-like effort.
There’s a big lean toward the bastardized house direction on this album; the listener is often fed relentless 4x4 kicks broken up with rhythmic ticks and spaced out excursions into slow-mo colourful dubstep. And for the most part Bible Eyes gives off the air of a house album, or a more twisted take on one at least, but at times there’s almost a trance-like quality at work here too, like he decided to chop and screw stadium filling synths from Tiesto, transplanting them into underground 2011.
Competently displaying that both Night Slugs and Egyptrixx can step into the album format with ease – something that I wasn’t sure would be such a smooth transition – Bible Eyes is a fine album that wont bang you over the head with wall to wall bangers. It’ll ease you into a heat wave soaked colourful dimension that’s surprisingly comfortable. Deep and hypnotic without ever retreating up its own bass funnel, there’s still plenty of Night Slug’s trademark bite, it’s just presented across a very stringent sound palette by one of their most talented artists.
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
Another producer in the Polish contigent - whose hardcore, dancefloor aimed productions have breathed a little unexpected life into our ears on many occasions over the last few months - The Phantom, and his tunes have been rollocking around the globe in the record boxes of some of the most influential, tastemakers around. Sharing an affinity to the perplexingly infectious synthesized grooves of labels like Night Slugs and Hum + Buzz, The Phantom’s own rhythms centre around the 4x4 pulse, but come unique with a highly melodic slant.
Equipped with the rhythm and drive those shuffling, incessant snares provide his music hits heavy, but it’s the uplifting lean of his lead lines on tracks like ‘Girl’ and ‘Night Game’ that really stand out. With tracks and remixes for people like Jack Dixon and Supra1, popping up with ferocity and a debut EP for the Senseless imprint - out earlier this wee - we caught up with the producer to talk our way into grabbing the 63rd Sonic Router Mix…
SR: Can you provide those who may not know you with a bit of background info?
The Phantom: Hi, Bartosz Kruczynski here. I'm a currently Warsaw, Poland based producer/DJ.
Outside of music who are you? What do you do on the daily?
Studying the culture of early modern England! I'm writing my master's degree thesis on ritualistic laughter. Apart from that - sleeping a lot, watching obscure films, listening to weird experimental records.
How did you first get into making music? What was it that infected you to do so?
I started putting together some ideas at the age of 15. All the tunes back then (made with a friend of mine) were sample-based, sort of early Coldcut or Big Apple Productions, despite being a fan of early XL Recordings rave records. At that time, I became influenced by the bootleg scene as well - Richard X/Girls On Top, Soulwax, Mark Vidler, Soundhog. All the early pioneers. Been making bootlegs for a couple of years now (I still produce them occasionally). Got back to writing my own music like a year ago.
What’s your production set up like? What’s your favourite bit of kit in the studio?
Just a laptop and a pair of ears really...
How would you describe your music? I mean it shares a kinship with UK stables like Night Slugs and Hum & Buzz... Are those guys an influence for you?
Yes, they definitely are! I mean, thanks to Supra1, I was lucky enough to DJ alongside Bok Bok in Cracow, Poland like two years ago! And I was already a Faggatronix fan back then, as well as a a regular reader of Lower End Spasm (RIP). Club experiences are definitely a very important influence to me. The same with Ikonika playing at Unsound last year or, let's say, seeing Dam-Funk live. As for my music. I'm trying to keep it very raw and simple sounding, almost dated. It's also about the melodies, or particular chords rather than beats.
Where do you take inspiration from when making music? I mean it’s easy to hear the influence of more tribal drum patterns but outside of that...
If I had to choose any particular tracks sharing a similar sound these would be perhaps 'Desire' by Robert Hood or 'Strings' by Da Posse or some South African house music. Pop esthetics are important as well - I'd name Madonna's 'The Look Of Love' as an influence behind my own track - 'Night Game'. Apart from that - I'm using quite a lot of jazz chords.
You’ve turned ears with your remixes of people like Supra1 and Jack Dixon. Do you approach remixes differently to your original productions?
Yeah, to some extent. It is rather unconscious, but I always try to experiment a bit more when remixing, later incorporating the ideas (like new presets) into the original tracks.
What’s the scene like in your native Poland? There seems to be some really good producers putting out records at the moment... I mean we asked Sentel the same thing, but is the club side of it blossoming and is that affecting your profile do you think?
The scene is definitely growing strong here. Apart from Supra1, Zeppy Zep, Sentel, Sekta (releasing a new EP on Shifting Peaks soon) there are a couple of yet to be discovered producers like Rhythm Baboon, Venice Calypso or MCQ and Vanatoski. There's obviously also the tech-side - Catz N Dogz or Czubala. Lots of events here as well - almost everyone from the scene played in Poland - NB Funky, HH Banton, Crazy Cousinz, Untold, Kode9, Ikonika, Jackmaster, Bok Bok & Lvis, Girl Unit, Guido etc. All thanks to promoters like Unsound, Supra1, Sorry Ghettoblaster, BBQ or Gangsteppaz. As I said earlier - all the gigs definitely influence my music.
Are there any producers you rate the world should know about? I'm really into what Glamfranklin is doing,
I think signed to Hum & Buzz actually! Also the likes of Salva, Tri-Funk, Akhluts. I'm a big fan of Jam City as well.
How did you link with Senseless for you forthcoming EP? Did you choose the remixers yourself?
Senseless approached me over a year ago proposing the EP, despite me being completely unknown at that time. At first two completely other tunes were meant to be released. Decided to scrap them eventually tho. The remixers were chosen deliberately - already had quite a good contact with both Brenmar and Hackman (and Zeppy Zep obviously), loved their work so we offered them remixes.
The Phantom – The Phantom EP [Senseless Records]
What other projects have you got in the pipeline?
Working on a couple of remixes now, including Voltron (Discobelle Records) and French Fries (together with Zeppy Zep). Releasing an EP on Pets Recordings (Catz N Dogz label) and a single track on a Top Billin compilation. All early next year.
Tell us a little bit about the mix you’ve put together for us…
The mix includes a couple of new releases I'm really enjoying - 'The Alps' or the Brenmar remix (I think they are out already at this point), a demo by JTRP (Deep Teknologi Records), an African house anthem by DJ Bongz and 'Shivers' by Skalpel off their second LP.
Robert Hood – Clash – M Plant Bateman – Tephra Riddim (Grevious Angel Remix) – Unreleased Brenmar – You Make Me Say (Ikonika + Optimum Remix) – Forthcoming Discobelle Records Braiden – The Alps – Doldrums DJ Bongz – Underground Ft. Kgomotso – Huge Entertainment JTRP – Shady – Unreleased The Phantom – Night Game (Hackman Remix) – Forthcoming Senseless Storm Queen – Look Right Through (Dub) – Environ Untold – Come Follow Me – Soul Jazz DJ Orgasmic – How Clap Low Trap (Joe x Ludacris) – Unreleased Girl Unit – IRL (Bok Bok Remix) – Night Slugs Jack Dixon – I Let You (The Phantom Remix) – Silverback Ikonika – Simulacrum – Hyperdub Skalpel – Shivers – Ninja Tune
Casting our ears back to the first dalliances with Polish outfits like BBQ (their blog, parties, promo mixes and giveaways) and labels like Concrete Cut we're completely in agreement with the recent XLR8R penned notion that, Poland is on fire in terms of fresh and interesting bass music of late. With artists like Zeppy Zep, The Phantom and now Sentel littering our inbox, conversations and radio show tracklists we're totally assured that Poland is doing it about now.
The duo of Sentel, aka Sylwia Kopys and Bartek Baran, hail from Krakow - a town you might have heard referenced in a tale of debauchery or a last ditch effort to lose a mind before committing to someone in matrimony. Keeping their four four kick drums prominent, together they make music that sits as easily between the flummoxing styles of producers like Brackles, Untold and the extended Night Slugs family. Enriched by the erratic, almost scattergun synth lines that incline up into themselves on 'Chapel 20' their style is encapsulated beautifully on their debut release, 'Chapel 20' b/w 'Widow' on the Concrete Cut imprint. Their sound is thick, almost toxic in its luminesence, with the stabbing leads pulling and nagging at your ear drums. In a similar way to the recent work of Egyptrixx: if a producer like Ikonika's world is plagued by hyperbolic shades of neon, Sentel's is swamped by woozy, pixel patterned shades; colliding in flashes.
Grabbing our 56th Sonic Router mix as we did it, we caught up with the duo, asking them to learn us a few things we could tell the wider world in return...
Sonic Router: Can you provide those who may not know you with a bit of background info?
Sentel: We are Sylvia and Bart. We live in Krakow where we try to get by making beats, playing out, and spending too much time in clubs.
Outside of music who are you guys? What do you do on the daily?
Bartek is attempting to figure out his life after an unsuccessful stint at uni, and Sylvia has just started hers at an old, respected university. In his free time Bartek works in computer graphics and Sylvia spins disco every night in a Ukrainian club.
How did you first get into making music? What was it that infected you to do so?
From the beginning, when we first started playing house parties in our hometown (Kielce) we were sure that we wanted to, at some point, start making our own music. At the time we didn't really have any idea of how it would turn out in terms of style.
Bartek: I remember the first tune I finished. It was in 2008 and it was a remix of Blur's 'Boys & Girls'. It was so bad it was barely listenable...
How does the partnership work between you when making tunes?
Everything happens fairly naturally. One of us starts a project and then we work together with each others' ideas. Sometimes one of us stays up later at night and when we wake up the next day we work on the project together. You could say that we split the work 50/50 (Bart makes the beats, Sylvia buys the beer).
Whats your production set up like? What’s your favourite bit of kit in the studio?
To be honest we only use a laptop with Ableton live. We do have a Akai mpk49 midi keyboard and an apc40 controller, but we use those pretty rarely. Until now we haven't even been able to get a hold of studio monitors or even a single fully functional pair of headphones. That might be partially responsible for the sound on our debut... haha.
Where do you take inspiration from when making music? I mean it’s easy to hear the influence of people like Scratcha DVA and Ikonika in your tunes but what do you think influences the music you make? I mean your myspace quotes black metal as an influence...
Of course you can't directly hear the influence of black metal in our music but I think that there is a certain aura and a kind of straightforwardness to our melodies that we can attribute to the sounds of Burzum, Xasthur or Bathory. You certainly shouldn't take that too seriously. In the same way we could say that the board game Magia i Miecz (Talisman in English) from our childhood is an inspiration, or the kids cartoon He-man.
What is truly inspirational for us is stuff from Werk Discs, Night Slugs, old deep house, acid house, Detroit techno, and rave tracks that you can find all over the internet.
Sentel – Chapel 20 [Concrete Cut]
What’s the scene like in your native Poland? There seems to be some really good producers putting out records at the moment... is the club side of it blossoming?
The scene isn't particularly big, but there are a few really great producers in it. We have to mention Zeppy Zep and The Phantom (check out the last track in our mix), Tomek Urbanowicz from Supra1, Vanatoski from Gangsteppaz, Tom Encore, Liquid Molly, the Concrete Cut crew, Sekta, DJ Spox, and the whole PL Funky crew. The scene is quite good now and we have a feeling that more and more good new producers appear in time. Keep your eyes on Poland, it might surprise you yet.
How did you link with the Concrete Cut crew for you first 12”? What can people expect from it if they’ve heard it? I mean RA commented on the frenetic energy of the thing... do you feel that’s a good description?
We had a few tracks up on the internet that Concrete Cut liked and they asked us if we'd like release something on their label. Simple story really. As for the single, we wanted it to be weird and aggressive, and totally different from the standard approach to UK funky. I think we achieved our goal.
The artwork for it is incredibly strong, kind of bleak but a throwback to the primitive platform games of the past... was that a conscious thing for you? To give it such an arcade feel...
Of course, it was intentional. Bartek was the proud owner of a Commodore 64, and he also played NES. Games like Contra, ShadowGate, Last Ninja left their mark in their own way and Bartek used that as a guide when he designed the artwork. Apparently you can hear the echoes of this kind of visual style in our music. Maybe it's a little cheesy, but it's certainly sincere.
What other projects have you got in the pipeline?
We plan to release our first vinyl this year, with Concrete Cut of course. We haven't DJed a lot recently and we'd like to change that. We're open for bookings! haha
Tell us a little bit about the mix you’ve put together for us…
We wanted the mix to be a little different. We didn't keep a steady tempo and the energy is spread out in an usual way. We wanted to tell some sort of story rather than it just being a standard selection of tunes. That's why we used a song from an old Polish children's film, Akademia Pana Kleska (Mr. Kleks' Academy), after some serious modifications of course. In general the majority of the tracks we used we edited in some way specifically for the mix. There's also a new track of ours there with a working title of 'Bones' and a second untitled track which will likely never be released, but we decided to use it here as a sort of exclusive.
Any words of wisdom, for our readers?
We're the last people who should be giving out any sort of wisdom. Hahaha
01. Velour - Booty Slammer 02. Mele - Bombay 03. Marcus Price & Carli - Var E Näääken (Girl UNIT Remix) 04. Claude VonStroke - Who's Afraid of Detroit (Edited by Sentel) 05. Revenge of Philip Golarz - Theme From Ms.Kleks Academy (Edited by Sentel) 06. Aiku - Just Can't Sleep (Egyptrixx Remix) 07. Sentel - Untitled 08. Hanuman Feat Kanji Kinetic - Bola (Kanji Kinetic Remix) 09. Kanji Kinetic - Thrill Seeka (Kingdom Remix) 10. Sentel - Bones 11. Pirate Soundsystem - Dub N U (Bare Noize Remix) 12. Nightmare Feat Skepta & Lil Nasty - Badness (Edited By Sentel) 13. DVA - New World Order 14. Redinho - Boy Racer 15. Modeselektor - Art and Cash (Phono Remix) 16. Zinc - Nexx 17. Jam City - Let Me Bang Refix (Edited by Sentel) 18. Makongo - Angolan Kung Fu (Double Dutch Remix) 19. Zander Hardy - Signalling 20. Sentel - Widow 21. Style Of Eye & Slagsmålsklubben - Homeless (Canblaster Remix) (Edited By Sentel) 22. Micky Slim & Nom De Strip - Do It (Original Mix) 23. Bobmo - Bring It (Hot City Remix) (Edited by Sentel) 24. The Phantom - Nightgame (Zeppy Zep Remix)
It’s easy to end up with a spot of tunnel vision when you’re locked to the constant shifting of sounds and styles going on in a scene, so when I say Jam City’s anthemic refix of Endgames’ ‘Ecstasy’ is hotly anticipated, it’s hard to really gauge whether that excitement spreads beyond the borders of the usual Night Slugs/UK bass followers. Still, it ought to – while the track’s been doing the rounds on dubplate for what feels like an age now, it’s just as good as it was when it first started appearing in mixes from Bok Bok, Greena and the rest of the London crew.
The first thing that strikes when needle hits wax is just how stripped-back and lo-fi Jam City’s production sounds. It was initially tempting to write off its canned feel as a product of the low bitrate mixes it appeared in, but placed alongside the highly buffed sheen of everything else coming out at the moment, ‘Ecstasy Refix’ stands out as a maverick and entirely successful experiment. It helps that its percussion is perfectly pitched - 808 hits rattle around the mix, seemingly in a hundred different places at once. Played off against the hypnotic repetition of its maddeningly catchy central motif the overall effect is one of stasis, of having to run flat out just to stay in the same place. If that sounds like strange praise, it’s probably not quite doing justice to the jittery, adrenal feel of the whole thing, or its compulsively twitchy charm.
On the flipside, JC offers another pair of reimaginings: a venomous house refix of DJ Deeon’s ‘Let Me Bang’, replete with an insistent drum hook – clearly an emerging trademark – and an odd but very interesting Wiley-styled ‘Devil Mix’ of DJ Bone’s ‘Shut The Lights Off’. Considering the unrelenting nature of Bone’s own productions, its spaced out eski-stylings come as a surprise, but a welcome one. Once again it relies on a central hook around which to hang incremental change – in this case an abrasive, grinding sub – and burns itself out over four airy minutes, and rounds out a 12" that may well be the best Night Slugs have yet put out there. It's certainly their finest white label so far, and to be honest if you haven't managed to snag a copy by now it might well already be too late. Still, it's well worth the effort to track down.
"...I just don’t think there’s anything more righteous than a heavy brass section really."
Read the Sonic Router penned interview with Night Slug's prog monolith Mosca over on the fabric Blog and download his epic 80 minute mix, made in promotion of his upcoming date at fabric on the 6th August for Club Autonomic.
Blawan - Potchla Vee [Unreleased] Rubi Dan - Pelvic Floor (Acapella) [Unreleased] Mosca - Tilt Shift [Forthcoming Fat City] Deamonds - Tilt Shift Crooks [Unreleased] Keke Palmer - Super Jerkin' Equinoxx - Infantry Riddim (Version) T'Nez - Normal Day (Infantry Riddim) Kemikal - Hear Mi Nuh (Infantry Riddim) Navino - Put It On (Infantry Riddim) Terre Thaemlitz - Radio Freedom Ramadanman - Grab Somebody [Unreleased] G.O.D Limited – Bounce Kismet - Loose Screw [Unreleased] DJ Deekline & Red Polo - Let It Bump (Hydroz Remix) Menta - Sounds Of Da Future Braiden - The Alps [Forthcoming Doldrums] Seany B - Bass Release DJ Technics - Hoody Hood Rat Riva Starr – Maria Funkystepz - Leave With You [Unreleased] Dwongo Lab - 60 Seconds Pariah - Crossed Out Ramadanman & Midland - More Than You Know Alison Hinds - Roll It Gal (Acapella) Doc Daneeka - Hold On [Forthcoming Ramp] T Williams - Drumstrumental [Unreleased] Imran Khan – Amplifier Frankie Bones – Beware J2K Ft Roses Gabor - Don't Let It Go [Unreleased] Mosca - Brand New Polaroid Loefah - Fire Elements Jaimeson - Urban Hero Darqwan – Confused Tubby vs Footsie - Tiger Style Joe – Digest JME Ft Tempz - CD Is Dead (Acapella) Youngstar - The Formula TRC Ft Z.O & Bonez - Bang (DJ Q Remix) [Unreleased] General LOK - Elmo Riddem CRST - Dance (Mosca Remix) [Forthcoming No Hats No Hoods]
Infrasonics boss Spatial was invited out to Dub War, the party ran by Joe Nice and co., in New York last month where he appeared on the bill with Sepalcure and Headhunter. Ahead of his forthcoming appearance at Cable this Friday for the FACT Mag vs. Night Slugs event, he's released a recording of his Dub War set for you to download. One of probably 4 or 5 mixes from the man to date, including our own SR mix, its got a heavy dancefloor slant and features numerous tracks forthcoming on his label.
Look out for INFRA12003 featuring Jamie Grind and Gon in shops soon.
It seems pretty hard to deny that 2010 is looking set to be the year of the Night Slug. On top of Mosca’s stunning Square One EP and a pair of dancefloor-heavy white labels on their own label, Bok Bok & Bubbz’s mighty ‘Citizens Dub’ has made a recent appearance on Blunted Robots and since has become something of a crossover anthem. Such an unstoppable run of releases has ensured that Bok Bok and L-Vis 1990 have made a swift shift from largely unknown to figureheads for a new group of bassheads. Once again, it’s largely been down to the power of the internet, and the fact that the sort of tracks both produce are appealing to DJs far beyond the confines of London.
There certainly seems to be a wider movement towards funky-inspired soca beats across the board, at times even tacked onto the kind of buzzsaw elastic noize that made the whole fidget house thing so exhausting. The second track on Night Slugs’ second ‘proper’ release, The Only Way Up EP from Toronto’s Egyptrixx, is a frustrating example. Entitled ‘Everybody’s Bleeding’, it shifts gear from a carefully restrained opening segment to an entirely unsubtle, heavily filtered drop, and in doing so moves the label’s goalposts further than ever before from simple UK-centric sounds. It’s a shame that in this case the track feels as though it strips away the careful nuances of the best funky in favour of cheap thrills.
The rest of the EP fares far better. Kingdom’s remix of ‘Everybody’s Bleeding’ reintroduces the feminine pressure the original sorely lacks, imagining it as a militaristic sub-led stomp akin to some of Cooly G’s recent Dub Organizer music. The title track is a deliciously downbeat space-synth epic, and Ikonika’s remix keeps its melodic core entirely intact but rebuilds it as a slowly unfurling post-garage shuffle. Most interesting of all is Cubic Zirconia’s remix. Instead of merely rehashing ‘The Only Way Up’ into yet another dancefloor shape, the Brooklyn band use it as the foundation for an entirely different vocal-led song, Tiombe going all ‘Kool Thing’-era Kim Gordon over a tightly-wound punk-funk backdrop. There’s a palpable feeling that this branching out will prove to be merely the tip of the Night Slugs iceberg – even if the results aren’t always fantastic, it seems unlikely they’ll be any less than intriguing.
Another XLR8R podcast goes up, another post on SR goes up pointing out how they are probably the best US site pushing the variant chasms of UK dance music. It seems to been a chain reaction of late...
Wandering asides aside, this week's podcast comes from Greena (with another tailored Steve Braiden image) and taking in everything from unreleased Terror Danjah, Untold and Ikonika, to Omar S, Carl Craig and Villalobos the Applepips affiliated dude smacks it on the TL.
Limited freebie from Greena and Mosca (pictured): Greena's remix of Mosca's 'Square One' track which is forthcoming on Night Slugs with original versions of 'Square One' and 'Nike' alongside remixes from Bok Bok & L-Vis 1990.
