Pearsall presents There & Back 007: July, More Techstep B-Sides, Remixes & Album Tracks
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Recorded in Berlin, August 2024
100% Vinyl
(67:41, 155 MB, 320 KBPS MP3)
Direct link to the mix:
https://sonicrampage.org/mixes/thereandback/Pearsall-ThereAndBack007_July_MoreTechstepB-SidesRemix&AlbumTracks1996-1999.mp3
Tracklisting:
- Think About Mutation – Visions (Source Direct Remix) [Motor]
- DJ Trace – The Beacon [Volume]
- Capone – Guess Who [Hard Leaders]
- Dom & Roland – City [Moving Shadow]
- Babylon Zoo – The Boy With The X-Ray Eyes (Goldie Armageddon Babylon Mix) [EMI]
- Hydro – Tha Bomb Shit [Emotif]
- Trace & Nico – Damn Son [No U-Turn]
- Lemon D – Chainsaw {Metalheadz]
- Dillinja – Vicious [Test]
- Elementz of Noize – Other Side of Town [SOUR]
- Renegade – Eastern Promise [Dread]
- Decoder – Quake [Tech Itch]
- Paradox – A Certain Sound (Remix) [Renegade Hardware]
- Spider Net – Awake [No U-Turn]
- Future Forces Inc – Neitherworld 6 [Rawkus Primitive]
- MTS – Hard Disk (DJ Zinc Remix) [Juice]
- Dylan – Virus [Droppin Science]
- Boymerang – You Like It Like That [Regal]
- Sun Electric – Eya (Future Forces Inc Hardware Mix) [Apollo]
- Cyba Space – Life feat Shanie (Dom & Roland Remix) [Cyba]
I had so much fun a few months back making There & Back 004 that I decided to make a follow-up mix on exactly the same theme, but a bit less rolling, and a bit more chopped-up.
And why not!
Over and over I keep returning to this era, I guess for nostalgia reasons, sure, but also because these tunes are just really really good.
I’ve already written so much about my love for techstep drum n’ bass over the years that frankly I don’t really have much new to say, so instead let me walk you through some info about each of the tracks. As before, I wanted to focus on lesser-known tracks, hence the focus on b-sides, album tracks and remixes.
Think About Mutation – Visions (Source Direct Remix)
This is quite an obscure yet awesome track; Think About Mutation were a German rock-meets-electronic band, and on this track they invited scene stalwarts Source Direct to deliver a remix, which sounds like a weird combination, but honestly the results are devastating.
The combination of indie rock-style female vocals with hard-hitting breaks and a powerful, twisting bassline is ludicrously effective. Way more than you would expect! Coming a few years before Pendulum blew up by combining rock with drum n’ bass, you could even say that this remix was prophetic.
DJ Trace – The Beacon
If you’re a fan of drum n’ bass, you no doubt are familiar with the work of DJ Trace, one of the true godfathers of the techstep sound – his 1995 remix of ‘The Mutant’ by T-Power was a crucial early signpost to the emerging sound. But even so, you might not be familiar with this track, which appeared exclusively on the 1997 compilation Trance Europe Express, which was mostly a techno compilation from Volume Records (who also put out the Breakbeat Science compilations). Eerie, dark and driving. I’m not sure I’ve ever heard it on another mix!
Capone – Guess Who
A typically bone-rattling b-side from Dillinja, operating under his Capone alias on the Hard Leaders imprint. Rap sample, spy movie horns, and absolutely crushing bass. This is one for the biggest systems. Planet smashing stuff.
Dom & Roland – City
Dom & Roland’s first album, Industry, is widely considered to be a landmark in the evolution of the techstep sound, and this is one of my favourite tracks from the album (although truth be told there aren’t any bad ones!). This is electronic music at its most cinematic – the perfect soundtrack to a space battle. Widescreen vibes.
Babylon Zoo – The Boy With The X-Ray Eyes (Goldie Armageddon Babylon Mix)
Babylon Zoo were a British rock back that achieved fame off the back of a Levi’s ad in the mid-90’s but then sort of went nowhere (I’m not sure). Anyways, in their brief moment in the sun, their label brought the one and only Goldie in to deliver this remix, which basically dispenses entirely with the original and is instead a classic example of Goldie’s mid-90’s sound, complete down to the swooshing synths and wildly pitch-shifted beats. Very difficult to mix, and I don’t think all that easy to dance to (since it’s kind of all over the place), but great to listen to. Nice work!
Hydro – Tha Bomb Shit
Ed Rush was another key player in the techstep scene, from his work with the No U-Turn crew through to his long-running partnership with Optical, and this track was one of his earlier techstep efforts, released under his Hydro alias on key scene label Emotif. It’s a very typical Ed Rush effort, essentially smoked-out weed paranoia committed to wax. Rap samples, rumbling bass, and clipped strings combine to produce a powerful sense of dread. Not euphoric, but indeed powerful.
Trace & Nico – Damn Son
No U-Turn’s Torque compilation from 1997 is to this day considered one of the key album releases from the whole techstep era, and this exclusive track from the album is one of its finest moments. Dark, intense, and powerful. If you like their stuff, check out my No U-Turn tribute Truly Dread.
Lemon D – Chainsaw
Another key compilation series was Metalheadz’ Platinum Breakz series, which combined selected tracks from their catalogues with a few exclusives for the collectors. This track appeared on Platinum Breakz II, and is very typical Lemon D work, with tough breaks and head-snapping bass.
Dillinja – Vicious
Yes, more Dillinja! Making a techstep mix without at least a few Dillinja tracks is like getting fish and chips without the chips: I guess you can if you really want to, but it’s just not the same thing.
This particular track appeared as a b-side on his own Test label. A ruthless track! Here’s how someone described it on Discogs:
“The distressed female vocal, foreboding chords and menacing brass stabs do little to disguise the impending battery. White hot molten beats lethargically spill from this insipid cauldron of malevolence before being steam-rollered into oblivion by a truly tempestuous bass line.”
Elementz of Noize – Other Side of Town
Newcastle’s Elementz of Noize were prolific producers who never quite got the props they deserved, in my opinion. I suppose because they were up in the north-east of England back when the scene was really focused on London and Bristol? Or maybe they never had that one breakthrough anthem to take them higher? In any case, they really made some great tracks that sort of straddled the line between jump-up and techstep, and this one is a particular favourite of mine. Tough breaks, rap samples, and a bassline that hits you like a wave crashing over and over onto a rocky shoreline. I also love the weird echoing abyss sound in the breakdown. Amazing stuff!
Renegade – Eastern Promise
Renegade was the main alias of Ray Keith, dj, producer and record dealer extraordinaire. As a teen I used to buy records off him practically weekly from his battle station in the basement of Blackmarket Records in Soho. This track was the b-side of one of his releases on his own Dread label, and it’s typically punishing stuff, lightened up by a mutated horn sample.
Buying records at Blackmarket was a real vibe:
When I first started going to Blackmarket at 16 years old there were no listening posts, so you listened to what they were playing over the in-house system. Depending on how busy it was you could ask to hear a particular tune, but if you were young or small you usually had to make an extra effort to get noticed. As tunes would play over the system hands would go up from those who wanted the tune – first come, first served. I remember going in one time on a Saturday when the basement was packed wall to wall, the kind of crowdedness where you had to bob and weave your way through the mass to the counter. Badass by Micky Finn & Aphrodite had just come in the day before after months of being hammered at the raves and one of the staff slapped it on the turntables – as soon as the bassline detonated a forest of hands went up, begging for a copy.
Decoder – Quake
Bristol’s Decoder was another extremely prolific producer who released on many of the scene’s biggest labels, but he most frequently appeared on Tech Itch Recordings, run by fellow Bristolian and scene stalwart Mark Caro, aka Technical Itch. ‘Quake’ was a b-side that features the signature heavy basslines, intricate drum programming, and atmospheric elements that Decoder is best known for.
Paradox – A Certain Sound (Remix)
Paradox’s A Certain Sound was considered one of the anthems of the early techstep scene, and this remix, released on the Distorted Reality EP double-pack, is, if anything, even better. Heavy atmospherics and crisp drums make for a lethal combination.
Spider Net – Awake
Pete Parsons was one of those key behind the scenes people that any music scene needs to thrive. He worked as an engineer for many of the scene’s biggest names and also put out his own tracks from time to time, most famously under his atmospheric drum n’ bass alter ego Voyager. This track, released on Nico’s No U-Turn Recordings, was his only ever release as Spider Net, and it’s certainly … something. On Discogs a reviewer described it like this:
“Awake is a paranoid, hyper militant heart palpitation-instigating moody stepper for 4 AM. It’s all about that melodic and distorted reece to top it off with eerie sax. Strangely uplifting through all the psychotic terror. Tracky dance music rarely reaches such thoughtful nuance. Let the bad times roll!”
Future Forces Inc – Neitherworld 6
Rawkus was one of the most famous New York underground hip-hop labels of the late 90’s, home to rap legends like Mos Def, Talib Kweli, Pharoahe Monch, and many many more, as well as being the hosts of the long-running Lyricist Lounge club nights and compilation series.
They were also big fans of drum n’ bass and even set up a sub-label to release drum n’ bass by both British and American artists, which included a deal with London’s Trouble on Vinyl to both license tracks for US release as well as to release exclusives from TOV-affiliated artists. One of those releases was this one from Future Forces Inc, famous for their work on Renegade Hardware (TOV’s techstep sub-label). Honestly this is a pretty obscure release, I’ve never heard either of the tracks on it in anyone else’s mixes, so I have to conclude that since this was a US release most people just weren’t aware of it, which is a shame because this is among their best work. Total banger.
MTS – Hard Disk (DJ Zinc Remix)
This one, on the other hand, is anything but obscure. The original was a huge hit on the harder dance floors, and then Juice took it to a new level by bringing in the hit man DJ Zinc himself to remix it for their Way of Life triple-pack EP. Phased synth stabs, pitched-down ‘tramen’ drums, sternum-rattling bass … this track has it all, and the second drop has to be heard to be believed. Intense stuff.
Dylan – Virus
This came out as a b-side on Danny Breaks’ Droppin’ Science label and it is, frankly, one of the hardest drum n’ bass tracks of all time. It’s hard to explain in words what it sounds like, really you will have to listen to it yourself. Not for the faint-hearted!
Boymerang – You Like It Like That
Boymerang was a side project of London rock musician Graham Sutton, known for his work with the group Bark Psychosis, as well as for his subsequent work as a producer of a variety of rock bands. His work as Boymerang only lasted for a few years, but it was quite a fruitful period, with releases and remixes on a range of key labels, as well as a single full-length album, Balance of the Force, which appeared on the Columbia sub-label Regal. For my money, it’s actually one of the best single artists drum n’ bass albums from that era, and this track, which appeared on it, was one of the highlights, all sliced-up breaks, dark sound effects and monster bass.
One of the reviews from Discogs put it like this:
Previous posters are absolutely right, such an underrated record and more importantly producer. Deep productions that require you to really listen, then they suck you into different worlds. Some of the tracks on this album are on par with Photek when it comes to atmospheres created, others are menacing as any good Metalheadz.
Sun Electric – Eya (Future Forces Inc Hardware Mix)
Sun Electric was a Berlin-based duo that back in the 90’s released mostly ambient stuff, with some forays into techno and what was then called IDM (or intelligent dance music), with a number of releases on Apollo, which was the ambient sub-label of R&S. This remix, from Future Forces Inc, is, however, very very very much NOT ambient. This is some ruthless stuff! Future Forces Inc were D-Bridge and Maldini, who separately at the time were also releasing jump-up under their solo aliases, and they later became 1/2 of Bad Company alongside Fresh and Vegas, with Bad Company going on to release some of the biggest drum n’ bass anthems of the period, such as The Nine, The Pulse, and Planet Dust. D-Bridge in particular has had an amazing musical career, running Exit Records and also playing a key role in the 2010-era autonomic sound, which stretched drum n’ bass to its most cinematic, meditative extreme. This track, on the other hand, is just a classic techstep banger. And there’s nothing wrong with that!
Cyba Space – Life feat Shanie (Dom & Roland Remix)
Wow, it was literally ten seconds before I started typing this out that I learned who Cyba Space was. I bought this track many many years ago for the Dom & Roland remix, but never bothered to learn who was behind the original track, so imagine my surprise when I had a look on Discogs and discovered that it was a collaboration between Paul Clarke and Ron Wells, who had released some of my all-time favorite 1993-era jungle techno tracks as Fast Floor. Tracks like ‘Plight of the Innovator’, ‘7th Heaven’, and ‘On A Level’ are still absolutely essential; I had no idea they were still working together on drum n’ bass stuff in the late 90’s. Anyways, this remix is a perfect way to finish off the mix – I love the contrast between the female vocals and Dom’s tough production, it’s a real sweet and sour combination. I wish there had been more tracks like this, it’s just so good! Man, especially the bit where the breaks really start tearing out and the ethereal vocals are floating over the top … oof.
Thanks for reading, and for listening. More soon!