- 01WantedYazzGordon gestures towards them, pointing out the samplers, synthesizers and drum machines he bought following a significant payday for work on Yazz’s 1988 debut album, “Wanted”.from the chapteralso in the bleepography
- 02Clocks and BabiesChakkTitled “Clocks and Babies”, the album was a non-stop patchwork or off-kilter Post-Punk grooves, skittish drums, reverb-laden freestyle Jazz horns, eccentric spoken-word snippets, lo-fi drum machine rhythms, snarling vocals and out-there electronics.from the chapteralso in the bleepography
- 03Out of the FleshChakkThe resultant single, a stuttering, heavily edited and rearranged chunk of low-slung Industrial Funk brilliance entitled “Out of the Flesh”, was subsequently released on Cabaret Voltaire’s Doublevision label.from the chapteralso in the bleepography
- 04PadlockGwen Guthrie…produced that was acceptable to both parties, the label decided to hire an outside production team and asked the band for suggestions. ‘We were listening to a lot of stuff like Gwen Guthrie’s “Padlock” mini-album and Grace Jones’ “Nightclubbing” - things that had been made at Compass Point studios in Barbados,’ Brydon says. ‘That’s where we wanted to go [musically], so asked for Sly and…from the chapteralso in the bleepography
- 05NightclubbingGrace Jones…produced that was acceptable to both parties, the label decided to hire an outside production team and asked the band for suggestions. ‘We were listening to a lot of stuff like Gwen Guthrie’s “Padlock” mini-album and Grace Jones’ “Nightclubbing” - things that had been made at Compass Point studios in Barbados,’ Brydon says. ‘That’s where we wanted to go [musically], so asked for Sly and Robbie.from the chapteralso in the bleepography
- 06Forever GreenTreebound StoryThe cut in question was called “Forever Green” and ended up on the B-side of the band’s debut EP, “My Life’s Example”.from the chapter
- 07My Life’s ExampleTreebound StoryThe cut in question was called “Forever Green” and ended up on the B-side of the band’s debut EP, “My Life’s Example”.from the chapteralso in the bleepography
- 08KissAge of ChanceOne of Gordon’s productions for Age of Chance, a bustling Indie-Dance cover of Prince classic “Kiss”, nudged the top 50 of the singles charts in December 1986.from the chapteralso in the bleepography
- 09House ArrestKrushThe runaway success of “House Arrest” made Gordon and Brydon in-demand producers and remixers.from the chapteralso in the bleepography
- 10Dancing In Outer SpaceAtmosfearEven if he was producing a sample-heavy cut for Pop Will Eat Itself, remixing Atmosfear’s Brit-Funk classic “Dancing In Outer Space” or working with The Fall’s notorious frontman Mark E Smith, the heaviness of the bass and the swing of the percussion always took priority.from the chapter
- 11Nude PhotoRhythim Is RhythimThe record in question was Rhythim Is Rhythim’s “Nude Photo”, a Derrick May produced chunk of mind-altering Motor City Techno full of clattering machine drums, twisted electronic motifs and fizzing, futuristic synth stabs. ‘When I heard it, my jaw dropped,’ Gordon enthuses. ‘I thought, “Now we’re talking!”from the chapteralso in the bleepography
- 12Abele DanceManu Dibangofrom Pata Piya 12”Now I knew what you could do with the sampler, I decided I’d take a record with me - the ’85 remix of Manu Dibango’s “Abele Dance” on Celluloid.’from the chapteralso in the bleepography
- 13Track With No NameForgemastersThey couldn’t think of a title, so simply called it “Track With No Name”.from the chapteralso in the bleepography
- 14Voodoo RayA Guy Called GeraldPut simply, “Track With No Name” turned Bleep & Bass into an artform and sounds every bit as futuristic and otherworldly as “Voodoo Ray”.from the chapteralso in the bleepography
- 15The ThemeUnique 3While “The Theme” thrilled through its sheer weightiness, raw energy and the simplicity of its ideas, Hazel, Gordon and Maher’s debut track drew together the emerging style’s major influences - 808 Electro, Chicago Acid, Detroit Techno and Dub Reggae - while sounding every bit as polished, intergalactic and far-sighted as any record that had previously emerged from the Motor City.from the chapteralso in the bleepography
- 16Shall WeForgemastersGordon says he mixed the track at FON and pressed up 500 white labels with a track called “Shall We”, a cut made largely by Maher at his home studio, on the other side.from the chapter
- 1710 Days In An ElevatorChakkAnother pressing was immediately ordered, this time with the brand new - and now iconic - Warp Records logo designed by Ian Anderson of the Designers Republic, a rising star whose first job had been to design the cover to Chakk’s “10 Days In An Elevator”.from the chapteralso in the bleepography
- 18Mindsong EPNightmares On Wax‘For us, it was all about the bass drop,’ says Leeds’ Tomas Stewart, whose “Mindsong EP” was released by Warp in early 1991. ‘We responded to weighty bass and drums that were tight and heavy, like Electro.from the chapter