i just knew photek would come back and come back making dubstep



so he did paranoid 'n' clinical drum'n'bass (neurofunk, he was its King, its founder almost), then he did house, then he did hip hop (or is my memory playing tricks with me there?), then he did drum'n'bass again (and wasn't it supposed to be really pandering-to-noughties-knucklehead sensibility d&b, it even had a name -- thug ' n' bass?) and now he's doing dubstep

question is: will he be speaking in his real accent?

over at the collective Nineties blog an excellent riff from Culla on the utopian promise of rave and the differences between the 90s and now,

"As even Livy knew, the true Dionysian instrument was the drum. Greece was not a percussion culture compared to Egypt, where Osiris's celebrants were far more polyrhythmic. But the tympanon, which generated a deep thump from a single animal-skin side, always came out for Dionysus, as did giant castanets called krotala."--Robert Christgau's archaeology of the Dionysian spirit of music and "liberation through ecstasy"

ruff beats producing the bass







(the altered natives one i really wanted to post was "lamb to the slaughter" which you get here in this freebie bonanza a history of silence)

think this is mis-identified, it's actually the great sinister protodarkside rmx by Ray Keith right?

whereas this is the Acen version, it's got his signature all over it

Droid -- Honorary Member of the League of Sample-Spotting Saddos -- points me towards this track, which I'd never heard before



the source of at least two hardcore classics



and




check out also the Slipmatt Ninety-Free rmx of "Incredible Base"



and the Foul Play rmx of "Sound of Music"

sample spotting saddo, pt 346




the dreamy bit at 2.07 onwards is this right



or is it someone else's version?









or even the original?

also velodrome

also mercury rainbow























talented geezer

but did he actually release anything last year?