KAOTIC MYTHICALS catches the eyes of visitors as we are not what you are used to seeing in the mundane world by any means or in the realm of Renaissance & Celtic Faires. With our unique characters, we instantly engage the mind of fantasy & play, regardless of age.

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Some of my favorite tunes from the golden era I will keep adding to this list as I hear more of this incredible music There are a few releases in here that would fall under the genre of Hardcore. Watcha Lookin At 6. Ride'n Choppas 7. Fury Speaks Pt. 1 8. Let's Roll (website here) 9. Whose. Baptiste effortlessly joins the dots between original '70s and '80s disco and boogie, modern nu-disco hits, disco house and. Drawn around 1880 at the Boston Type. It was nice to get dual illuminations which.


I'm sure there's lots of studies about lights and how much plants (and this case weed) can absorb and use, and how much is too much or too little, and most importantly, what's the optimal amount of light to give your plants. And also i'm sure there's other must know things you have to keep in mind when trying to optimize how much light your plants can use, would love to hear about those too. I'm sure many of you are about min-maxing your setup as much as possible as i am, so i'd like to learn everything about this topic.

Even in their straighter form Deathchant has not always, but more often than not, managed to fend off the aging process that has befallen most other „industrial hardcore“ or „frenchcore“ labels – so far. This is the most progressive record they released in a while, successfully avoiding (at least some of) their own self-created clichees, showing that there are positive development to anticipate.


It was a straight choice between jumping in front of the bullet or the project dying again and this time forever. Either we set pre Xmas deadlines, and fight tooth and nail to hit them, *or* phrases like "March" or "Mid next year" started getting uttered which in terms of getting this 16 year delayed project out in any form is the same thing as never.

Quote:Originally posted by CDJay:We're only able to ramp up because we're risking it all. This during a scene crisis, surrounded by retail giants falling, and an industry in flux.


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Tek) 10. If You Feel Like I Feel (Feat. They still lean toward Jungle and more on the side of Breakbeat Hardcore as opposed to Happy Hardcore. Maximum Rock 'n' Roll NOFX - Pump Up The Valuum NOFX - Punk In Drublic NOFX - Regaining Unconsiousness EP. Anonymous 04/29/18(Sun) 28 Oct Rolling (https://handworktime.ru/free/?key=3462) report: The Houston Astros. My Little Pony Equestria Girls Friendship Games Motocross Bike.

I feel like you should focus your efforts on less projects at once in order to get them right. Beyond Sharkey, the marketing for Hardcore Heaven Vol 3 has completely bypassed me, and I'm not detached from the scene's news. The only news I've heard about Al Storms' Fractured Mind has come from the man himself.


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I think people perhaps underestimate the sheer volume, and balk at a headline figure. Of course Today's The Day is in the completionist edition, as is the Darwin remix. The decision was made by ourselves and Sharkey that the remix rendered them less relevant but they still exist. Everything means exactly that, and if I manage to source or clear something next year it'll get added gratis. Hence the title "completionist". You get what we have, now and going forward.


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Its almost 14 years since this album was announced and at one point in 2021 was fully scrapped in favour for a website (Sharkey Music) which had all the stuff (I assume) thats in the completionist edition available as single mp3s. Then he got pissed off on the piracy of Hardcore Energy 2 and basically told the scene your not getting anything.

Being creatures from the forest from far & away, we are friends with all creatures big & small. In our travels, we find many scared of those they do not understand. We also have found that small things in life are often missed or glanced over. As traveling companions, we bring along live insects for visitors to see, touch and learn about.


HU is the best Hardcore has in terms of labels. Please make the best of the opportunity!

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Annix steps in on remix duties for "System Check", a futuristic ramble through what drum and bass must sound like to your operating system - and final tune "Represent" switches back to the old school, swapping dirty jump up rhythms for a colder, more intense flow. If this is a taste of things to come, that LP is going to be massive.


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I was expecting some early Powerbounce version actually. I think Awakeningcould work with a pre-Powerstomp remix DJ Reevzy Is it me or does the Teknostorm rmx sound "noisy"?

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Crucial 70s double dub pack collecting what’s probably a fraction of versions and B-sidings from the prolific multi-label Gibbs operation. What’s provocative here is the attention to detail that revitalises standard rhythms that never quite remind the same and, of course, that constant desire to fuck about in the studio without elektronische formalism. Here, then, is the presence of Errol ‘ET’ Thompson – the studio enigineer-electrician to Joe Gibbs’s impresario: The Mighty Two. It’s ET’s hot pliering that leads from concrete sounds to minute long snare echoes as well as, on what are mistakenly called ‘novelty’ tracks, siphoning entire tracks through overloading phaser. On Baldhead Bridge the tone of synth blips punctuates the militant rhythms as Culture celebrate London Bridge burning down – a direct feed into Handsworth’s insurrections? On Earthquake, praised for its low key guitar work, the bass warbles with a muddy low-end that’s more post than proto electronica. The Mighty Two brought us the much admired and resissued African Dub series and this collection too has that sense of being a long enduring set of ‘messianic’ living culture: timeslips via affective technology and an earful attitude.

I think the point was that in the case of redline mixes destined for vinyl, nothing could be done to bring them back. I don't really know much about these things, though.


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Sharkey always enjoyed A/Ring; if you look back through Bonkers (etc) you'll notice he's put other aritists on, ahead of his own material, throughout. Pulling together the unmixed disc, as well as some bits for the stem mix, is what's got him excited about this project and is largely why it's happened at all.

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Suicide note is finally seeing the light of day after having been rinsed for the last couple of years on dub. It was originally intended as a special for Krytic Minds but Dylan pushed for a Freak release. Unfortunately it seems he waited too long. Make no mistake this is a big tune, full of the phat KM + LS vibes, huge bass and clever switch-ups, it just comes across as slightly dated compared to the more up-to-date releases around.

Metalheadz celebrate their 50th release with a remix double 12“ of Ruffige Kru that turns out to be navel gazing and forward looking at the same time. First off is a remix of Terminator – the Ruffige Kru classic of over 10 years of age – by Danny C that is suitably tuff, filtered, twisted and jumping, the Total Science remix of Ghostlife on the flip side is more subdued, and will earn more head-nodding than cheers. TeeBee is next with his treatment of Angel, where a mild intro is soon replaced with a focussed stepper with depth, but holding out on the release – the typical drum’n’bass effect: it never really gets extreme. That’s something Goldie should consider if he wants to reach Metalheadz 100 with dignity and credibility intact. And side D is another remix of Terminator by Cujo, not the worst, not the best – just like this EP?


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There is no doubt that, without the efforts of those who have participated in the elaboration of this new album and the compilation of the digital masters of his whole discography, they would have been probably lost in the oblivion, most of them fated to be forever in such a defective format like the vinyl, with its crappy sound. For this reason, and in contrast with some other opinions that I have read along this topic, even 100 pounds could be considered a bargain if we take into account the vast amount of job recovering the also vast Sharkey's discography digitally.


I'll never forget the year it came out & getting that & Zelda Majoras Mask for the N64 for christmas. I'm pretty sure there was an advert for B5 on national TV aswell.

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Review: DJ Hybrid on Born On Road. This is a big release whichever direction it hits you.

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This is being released by the Hardcore Underground label. They will do this album justice.


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Review: Yes: Ed Rush & Optical are still at it, almost twenty years on. The drum and bass vanguards still have it too, executing their darkside futurism and bass science on the underground. The sick laboratory experiments are documented in all their perverse glory on No Cure, their sixth album on their very own Virus Recordings imprint. The title track (featuring the rhyming talents of longstanding collaborator Rhymetyme) comes tearing out of the speakers like a dark horse galloping through the dark. The jittery "Falling Down Stairs" trips all over itself but with such grace; its breakbeat finding itself and locking together again with the bass eventually. But if you ask us, it's all about tracks "Angry Birds" and "Nemesis", true steppers which nail that classic Virus sound that still sounds as fresh as ever. Ed Rush & Optical: accept no substitute.


Fresh BC) comes with a didgeridoo intro and then a loopy rave riff. The Battle features the Transformers sample: ‘It is the year two thousand five, the treacherous Decepticons have conquered the Autobot’s home planet of Cybotron.

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This is well worth picking up for the super loud recut of Trip to the boom by Abdullah K aka Bogdan Raczynski. Previously hidden away on the back end of his Rephlex release 96 Drum n Bass Classixxx, it was the hardest of a badly cut selection of mostly mediocre jungle ‘ardcore interpretations. Practical dancefloor business: hard hitting, stepping reverbed kicks and bass pressure functioning in dark atmospheres.


Nothing's been released/provided aside from Disc 1-4 of the £15 album. It's multiple weeks late and an utter disappointment. I'll be cancelling my order, I can't bring myself to care any more.

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Ultimately people will pay what they think is fair for the product and if you are unwilling to pay for the full catalogue then i guess you have to wait and hope what you want comes out in an affordable circumstance. I decided with nit having to so much worry about the outlay just side step any chance of having to wait any longer than i have.

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Joking or not you last 3 arseholes really need to go get laid or something that doesn't make y'all sound like total twats. This is being released by the Hardcore Underground label. They will do this album justice.

I'm not convinced it would be worthwhile, the general digital availability is most important going forward. We said all along the idea was to rescue the catalogue above all else.


This has been the one I've been waiting for, for years. I really wanted this to turn out the best. I'll wait and see what the completion edition is like.

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Should anything be missing, and later sourced, retrospective assignment is assured. Art prints from the album tapestries, undertaken by the original Bonkers artist, are included. The album *or* prints will be signed, as requested by the purchaser. CDJay will liaise with each buyer directly to solicit a "dream" listing for CDs 2 and 3, and incorporate emerging trends and forceful feedback into the final listings that will signed off in mid November. This is your chance to shape an enduring legacy, of a genuine icon, of genre!


We're ramping up the advertising for the other projects this week, there's a podcast coming and we have an Xmas "plan". It doesn't involve the CDs because there's just no way of getting over the fact that slip this time of year is unrecoverable due to general lead times, plant closures, delivery costs etc.

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Review: Proper drum and bass full of ragga twists to lose your mind to on this compilation thanks to Lion Dub label head Marcus Visionary. This release moves from the rolling (my response) reggae rhythms of "Ruff & Tuff" to the frenetic throwabouts of "Original Jungle Sound". Tear out vibes are to be had on "Born To Fly", and to be honest this release doesn't let up at all, and for a real weapon check out the anthem that is Navigator's "Sound The Alarm". But for something to potentially wind down to, relatively speaking, it's all about Marcus Visionary's VIP version of Jah Cure's "Never Find".

Any of the major promoters or so called leading lights? No. There is no scene; its utterly ****ed.


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Box including a 10“ and a 12“ on thick Czech vinyl. The blue vinyl 10“ combines power electronics with slower broken beats, while the 12“ covers more traditional shouting, sometimes serious, sometimes high-pitched over a carpet of noise.


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It is not possible, not even with the digital master (it would be like trying to extract the red and yellow paint from orange paint after mixing the former ones). To do this you would need the original project file in which the song was made, together with the required software, VSTs and samples, or rather all the different sound sequences split by channels, each one in a separate file.

The sample taken from David Lynch’s Dune resurfaces accompanying Noize Creator’s phat broken hardcore remix of I: Gor. Punishing kicks, T99 rave snippets and plunging subs.


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Kicking off with a vocodered electrobass tour of the bottom right hand quarter of the London A to Z, this EP together with his recent ‘Killer Virus’ release on FDB both show the wide variety of styles he can cut. From old skool electro re-edits to psych-grime experiments via firing breakbeats every track has something to offer.

The irony is, in an ideal world, if he had released them digitally they would probably have been more profitable. Of course, it's not an ideal world.


Untitled double pack on Widerstand by Hamburg’s finest producer. Most of these tracks have been around for literally years on demo CDs and anyone who saw his live PA’s in that period will be able to profess to their passionate power. Although released after the more mature Praxis 36 12“ these are the earlier tracks. Even so they already show a very sensitive producer able to deploy technology to a lethal purpose: Making people go nuts on the dancefloor.

The hundred pound option is exactly what the title implies. We've made it very clear that everything will be made available in split digital bundles post release.


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Behind the Leyton Breakers this time are lurking Controlled Weirdness and Blackmassplastics, and what a combination that is for Still Raven. Side A is the collaborative effort showing clean production and a haunting hook to produce a hit and a phuture classic. The B side features them separately in a more retro-rave mode and a slower pace, but with knowledgeable use of mentasms and evoking the aera of illegal ‚ardkore raves in Hackney.

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A stem mix probably refers to the new audio format pioneered by Native Instruments and supported by some of their pricier hardware. It's where each element of the track is separated in a single file and can be independently controlled such as taking just the bassline from a track and combining with the melody and vocals of another for example, but live.

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Review: Portuguese powermoves: Bassbrothers return with a fat packet of bangers and twangers to keep us warm during the gloomy months. Delivered over a year after their walloping "WTF" project, the seven-track stack brings everyone up to speed. Highlights include the tongue-in-cheek sampleplay and groove ricochets of "Cowbell", the undulating tech grizzles and electric current bassline of the title track, the gnarled-out halftime toxic funker "Accents" with man-of-the-moment Shield and the jumpy dynamics and sudden eastern switches of "Badboy".


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Thank god Bonkers is dead because i don't wanna see that name in any context with dubcore. It was good it ended before this area.


The time gods are bestowing positive vibes on us as DC Breaks deliver the album they've been talking about for almost half a decade. The euphoric piano-slapping power of "Never Stop" sets the scene as the duo explore the vibrant and creative contrast they've made their signature in the last 10 years. Highlights include the shred-stacked "Underground", the croaking highly-sprung aggy "Hustle", the neuro-inspired roof-burner "Organism" and the touching vocal closer "Time To Kill". Complete with 2021 reboots of their anthems "Gambino and "Swag", the Ram duo have wrapped up a bonafide opus.

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First vinyl outing from this Australian imprint sees DJ Hidden providing the goods. After a moody intro punctuated by half speed breaks, DJ Hidden rinses out a fierce, gritty, mid-range sweeping synth line over some hectic stepping breaks. Maybe not as bass heavy as it could have been and my copy has two or three very short moments of sound loss, weird and annoying if this was intended, just annoying if not. But any deficiencies are made up for by the sheer energy this tune oozes: large!

Will these be remastered better at a later date? I already got Rainbow Island so that one aint a biggy for me, but the other's are alittle.


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It’s irrelevant in this context that there are regularly parties with the same silly claim, crowning mostly dutch has-beens as said kings. So let’s assume Producer is just being ironic, a thesis that seems confirmed by the b-side, which is solid DC-ism, including the misleadingly titled Antother Mindless Brkbeat trak which has breaks but isn’t exactly a breakbeat track as such.

Tech Itch has been a major force in the current revitalisation of the hard DnB scene. His Penetration label consistently delivering. This brutal, cold, calculating approach seems to have inspired a number of artists outside the UK to take his sound even further and harder. Limewax is one of these, still only 17 but producing some of the sickest, heaviest beats around. Cracking Core, one of the tracks on the Changing Crisis EP wouldn’t sound out of place on Sub/Version, putting to shame most of the so called breakcore sound. It contains what sounds like noise samples taken from Praxis releases, overdriven well chopped breaks and massive bass firmly directed at the hard sound party crowd. Remixing Life of Sin, Limewax smashes an offbeat affair, but doesn’t match up to Tech Itch’s brooding Judge on the flip. Wraith, side b of the current Penetration release, sees Tech Itch taking an ultra clinical approach with hard hitting snares crashing through the midrange and dry bass smouldering underneath.


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If that was indeed the case then I feel it should have been communicated upon the announcement of the completionist tracks. It came across as being all available day one on 13th December. I really hope Hardcore Underground takes all these comments on board for when they do the others for Vinylgroover etc.

A box-set triple LP of a three hour performance of John Cage reading the thrid part of his „Empty Words“ in 1977 at Milan’s Teatro Lirico. The liner notes on the sticker on the package adds: „. in front of an increasingly restless crowd of Italian Students, which would erupt into one of the great (if under-reported) art riots of the last century“ – indeed! Quite soon you hear the crowd starting to chant and shout. Cage unerringly continues to quietly declare his sound poetry (consisting of non-words or near words) – the situation develops into a stand-off between the artist and the moaning and clapping crowd. The „empty“ words are quite close to „real“ words – or „full“ words – but nearly half a century after Schwitters the idea still remains provocative, quite literally. At least to provoke a clearly reactionary dissent. There is the dissent of the critic and the dissent of the mob; with this recording the roles are not cleanly and properly distributed. The lines between performer and performed remain clear though. The „empty“ words seem to be filling (at least some in) the audience with indignation that’s swiftly and loudly voiced.


Voodoomix guarantees continuation. Again a 12“ with two mixes of the same track. Again in his very own brand of breakbeat driven drum ‚n’ bass, this time consisting mainly of a break-track with a synth playing in different octaves. Being extended jams this is strictly for the mix, working well either with d’n’b or with hardtek.

Forgettable is the last track, ‚Eat a Peach’, with you guessed it, Peaches on vocals. No digital effects will make her mumbling sound seductive enough to take up the invitation.


Hey CDJay I have a suggestion for your next scene archival projection. Instead of doing Stompy or Storm how bout Robbie Long/TNC.

Quite frankly, I'd much rather have the original 'Today's the Day' than a remix. A load of Sharkey originals have had to make way for remixes that I wouldn't buy.


This LP was untimely and to a certain degree still is. It’s a timeslip now and is not so much a ‘new genre’ as pre-post modern. Where else can you hear ‘folk’ and ‘prog’ and ‘punky synth pop’ and ‘industrial’ and ‘au naturel’ acoustic chords all in one place?

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I know there's not room for many tracks. I would have thought Death By Stereo, Product Of Society, It's all just hardcore, Frantik, The Warning would have been on album.

Hex was the first label started by people around the Hekate sound system – Dan H and Redmax in this instance – and released a phenomenal first record, and there would be follow ups, but few and far between. The second release took a softer approach that somehow posed the question where the label was going to head, but since number three the course has been quite clear, even if for most indistinguishable from Coven H and New Skin 3-5.


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At least they are trying to make it easier for the reviewer, by including a little ‚synopsis’ on a piece of paper with this otherwise just white label. The longer a-side track is descibed as a „heavy metal junglistic headbanger“ which circumscribes jungle with the odd 4-4 kick. Not bad, but Full Frontal Face Fire written with Doormouse on the other side is more adventurous, more broken and mental, not metal. The third and final track, again by Anonymous, is slower breakbeat, interrupted by fast bassdrums, and with some lyrics, which are also reprinted on the insert!

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This is why I ordered the completionist edition. That way I get everything and I don't need to worry about it.

If this didn't get released it probably would never have so I am glad that it is here now. At least I know the completionist edition is just around the corner and not a future release.


Exactly as Samination said; it's just a better value version for the first 200 interested buyers. Everything will still be available afterwards, with the exception of the signed art prints.

Ganar being a **** is not really HU's drama. More like drama HU had to deal with.


HU is doing so much for the 'scene' right now. And the best thing about it is that it's not for money. I can easily see this being my last year as a raver/buyer of Hardcore music, but what a year it's going to be!

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Now Olly i like you and at no point was i referring to your label which you clearly are and i know how much effort you put into your albums and the time they take. I usually buy the variety ones (blood sweat & tears etc) and for the most part have very positive things to say about them. If you are not referring to your own label and are commenting on the subject matter then fair enough i know it's a hard job putting these things together but i get back to my original point that news that something else is being worked on is not as exciting as actually getting some tangible evidence that perhaps some of it may turn up eventually.

Fair enough everyone entitled to their own opinion on what should and should not be included. I do feel though for an album of this size, there are some tracks I'm surprised that aren't on the unmixed CDs. Yeah look forward to seeing what's on Sharkey's stem mix.


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How come there isn't one CD that is presented solely as the previously unreleased Sharkey productions? For eg, why did you choose to mix up stuff like Black Rain and Bang Like A Mother with remixes from Ephexis on disc 2?


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Once the dust settles, and completionists have access to the extended catalog, I suspect everyone will be quite content. As I've said before, even if we can't get something, or we later source a better version of something (I really want to find a few things I only had redline or intended for vinyl masters, specifically) we will update in perpetuity.

The booklet is increasingly novella length. There's so much potential here to open, study, and enjoy, swathes of scene history.


If there was a new HU album once a fortnight you'd be complaining there should be one every week! These things take time, how about a little patience? Not that long since the CLSM album came out, not like we're having to wait a year at a time for something new.

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This release also has digital components to follow, as well as a limited edition "Completionist" bundle featuring every track and remix of and by the inimitable DJ Sharkey. This has taken inordinate amounts of work, including data recovery actioned back in 2021, and is nothing less than an archive of massive importance.


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If that's the plan then, for me at least, I wouldn't be interested. I am after the back-cat, not remixes of it.

That's what the vinyl says, but the Freeformation sleeve says Eclipse and Sharkey. I have no idea which one is correct, but I hope Sharkey contributed so there's a chance of it being on the album. The label on the vinyl credits Sharkey for the other track "Acid Frenzy," so is it possible he had a part in both?


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Obviously I want everything up yesterday, and the CDs shipped already, but getting this album across the finish line is genuinely the hardest thing I've done. We're very happy with it, and we're still working on it.


Claim to be doing so much but we haven't had HU6 this year and the brisk album has been coming out for a year also. Plus i don't know what was supposed to have happened a few weeks back when we had that thread requesting modern remixes of 90's tracks and cd jay said something about in a couple of weeks.

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I think Kougai was planned as a 7“ series initially, but now the tracks appear as split 12“s with double catalogue numbers. The first one (Kougai 1/2) already was a high quality clash between Low Entropy and CDatakill, while Fanny and Geroyche make a surprising, but not unpleasant couple.

First on the B-side is a “dubplate” mix of “The Hate that Hate Made”. I decided to include this slightly lower-fi rough mix as the sequencer file was corrupted and I would have had to re-make the whole track. This is the oldest track on the record.


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Sound Assassin is annoyingly tricky, we knew we had the "wrong" version for months but it was closest to the B3 version. When I was down there we found a DAT which contained both vocal and instrumental mixes alongside a bunch of other B3 stuff. We're still looking through but these are teeny tiny differences and Sharkey works a 80-90 hour week and lives a few away. DATs keep getting chewed up, adding a sheen of tension to proceedings.


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Before making a magical fairy wish, one must earn one by ringing in some good cheer. We catch a cheer by playing old fashion ring toss on glass bottles.

In case it's worth adding, Distornord is one of my favorites from Sharkey. I heard it for the first time on freeformation, but it took me forever to find the original release because the spelling is wrong on the freeformation sleeve.


So will the Sharkey tracks indeed be available to buy in a complete bundle just like the RFU back catalogue? I just need clarification hahaha! I would love to get the CD, but I can't get the completion it version anytime soon due to financial reason.

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That could be the mastering from the DAT. It seems like alot of tracks where mastered (poorly in a sense) before going on the DAT backups.


The stem mix has taken longer than intended, and is finally wrapping this weekend, so we're a smidgen behind schedule for the physical. Again, we still intend to make the digital assets available including what Completionist assets we have amassed. More will follow as we get it, including some unreleased Nu Energy stuff we're hoping to get in January. There are only about 50 left of the Completionist bundle at this point!

Not just the obvious sought after unreleased, or not previously available digitally, but a bunch of stuff rarely or never alluded to in public. That's ignoring a bunch of stuff commissioned recently for the remixes CD and/or stem mix.


I bought the completionist collection because I wanted the tracks Sharkey produced in the 90s and a lot of his unreleased work. I assumed like many that it would all be available from 13th December.

As others have said, the mastering of the tracks is not great. I am not sure if this is to do with the DAT being used or what but it certainly isn't the greatest.