- 01Track 4LFO…Edmeade, Tomas Stewart and David Duncan all recall semi-regular visits, while Hazel and DJ partner Richard Barratt remember testing out some early LFO cuts in the presence of Mark Bell and Gez Varley. ‘I remember playing one particular demo they brought down - maybe “Track 4” or “Mentok 1” - and the crowd going mental,’ Barratt says. ‘I looked at Mark Bell, and he was stood there stony-faced.from the chapter
- 02Mentok 1LFO…Edmeade, Tomas Stewart and David Duncan all recall semi-regular visits, while Hazel and DJ partner Richard Barratt remember testing out some early LFO cuts in the presence of Mark Bell and Gez Varley. ‘I remember playing one particular demo they brought down - maybe “Track 4” or “Mentok 1” - and the crowd going mental,’ Barratt says. ‘I looked at Mark Bell, and he was stood there stony-faced.from the chapter
- 03The Jack That House BuiltJack ’N’ ChillMan Machine was the recording alias of Ed Stretton, a London-based radio-producer-turned Acid House evangelist who first rose to prominence as one half of Jack ‘N’ Chill, whose 1987 cut “The Jack That House Built” was one of Britain’s first crossover House tracks.from the chapter
- 04SensoriaCabaret VoltaireBarratt had been playing their records since he started DJing - especially the more floor-friendly cuts such as “Sensoria”, “Sex, Money, Freaks” and “Crackdown” - and had already developed friendships with both Richard H Kirk and Stephen Mallinder.from the chapteralso in the bleepography
- 05Sex, Money, FreaksCabaret VoltaireBarratt had been playing their records since he started DJing - especially the more floor-friendly cuts such as “Sensoria”, “Sex, Money, Freaks” and “Crackdown” - and had already developed friendships with both Richard H Kirk and Stephen Mallinder.from the chapter
- 06CrackdownCabaret VoltaireBarratt had been playing their records since he started DJing - especially the more floor-friendly cuts such as “Sensoria”, “Sex, Money, Freaks” and “Crackdown” - and had already developed friendships with both Richard H Kirk and Stephen Mallinder.from the chapter
- 07House ArrestKrushBrydon had invited the others into the studio after orchestrating the making of Krush’s big-selling “House Arrest” single with Robert Gordon the previous year.from the chapteralso in the bleepography
- 08Hustle To The MusicThe Funky Worm“Hustle To The Music” was a suitably funky affair that mixed classic Disco and Soul samples with sweaty blasts of Rare Groove-friendly breakbeats, a Chicago House-influenced acid bassline, jazzy keys and occasional blasts of saxophone provided by Chakk member Sim Lister.from the chapter
- 09Voodoo RayA Guy Called Gerald“Voodoo Ray” and “The Theme” had blown him away, while the heavy, minimalist tracks being produced by his Yorkshire contemporaries - and particularly Forgemasters’ “Track With No Name” - excited him much more than the Pop-dance records that WEA was ordering the Funky Worm to make.from the chapteralso in the bleepography
- 10The ThemeUnique 3“Voodoo Ray” and “The Theme” had blown him away, while the heavy, minimalist tracks being produced by his Yorkshire contemporaries - and particularly Forgemasters’ “Track With No Name” - excited him much more than the Pop-dance records that WEA was ordering the Funky Worm to make.from the chapteralso in the bleepography
- 11Track With No NameForgemasters“Voodoo Ray” and “The Theme” had blown him away, while the heavy, minimalist tracks being produced by his Yorkshire contemporaries - and particularly Forgemasters’ “Track With No Name” - excited him much more than the Pop-dance records that WEA was ordering the Funky Worm to make.from the chapteralso in the bleepography
- 12CodeCabaret VoltaireThe Cabs previous album, 1987’s “Code”, had not been a rip-roaring commercial success.from the chapteralso in the bleepography
- 13Groovy, Laidback and NastyCabaret Voltaire‘I wasn’t very happy where Cabaret Voltaire was going at that point,’ Kirk explained in a 2017 interview with Daniel Dylan Wray. ‘I thought that the “Groovy, Laidback and Nasty” album was a really watered down version of Cabaret Voltaire.from the chapter
- 14Computer GamesYellow Magic OrchestraThey began by jamming out a Detroit and Chicago influenced Techno cut that placed sampled electronics from Yellow Magic Orchestra’s “Computer Games” and spacey synth sounds atop a squelchy bassline and a sweaty drum machine rhythm track rich in handclap-heavy fills.6 The track was introduced by a spoken word sample from Close Encounters of the Third Kindfrom the chapter
- 15TestoneSweet ExorcistThey called the cut “Testone”, and by autumn 1989 it was already causing a commotion on the dancefloors of Cuba and Jive Turkey.from the chapteralso in the bleepography
- 16TesttwoSweet ExorcistAccompanied by a pair of ghostly, mind-altering reworks (“Testtwo” and “Testthree”), “Testone” first appeared in stores in early 1990, spending seven weeks in the lower reaches of the top 100 singles chart.from the chapter
- 17TestthreeSweet ExorcistAccompanied by a pair of ghostly, mind-altering reworks (“Testtwo” and “Testthree”), “Testone” first appeared in stores in early 1990, spending seven weeks in the lower reaches of the top 100 singles chart.from the chapter
- 18DextrousNightmares On WaxIt became as ubiquitous as “Dextrous”, “The Theme” and “Track With No Name” and was quickly followed by a remix 12” featuring superb remixes from Robert Gordon.from the chapteralso in the bleepography
- 19The Mood Set EPThe Funky WormThe two later got together at Western Works to record what would become “The Mood Set EP” on Network Records.from the chapter
- 20Easy LifeCabaret VoltaireThe involvement of the FON Force boys resulted in the undisputed highlight of “Laidback, Groovy & Nasty” - lead single “Easy Life”.from the chapteralso in the bleepography
- 21Body & SoulCabaret VoltaireIn the years that followed, they produced a string of records that showcased their particular take on contemporary Techno and Electro, most notably the “Body & Soul” album on Belgian imprint Les Disques de Crepsicule (the lead single, “What Is Real”, is basically Bleep & Bass with vocals).from the chapteralso in the bleepography
- 22What Is RealCabaret VoltaireIn the years that followed, they produced a string of records that showcased their particular take on contemporary Techno and Electro, most notably the “Body & Soul” album on Belgian imprint Les Disques de Crepsicule (the lead single, “What Is Real”, is basically Bleep & Bass with vocals).from the chapteralso in the bleepography
- 23FreebassSweet ExorcistBoth of the 12” versions - subtitled “Freebass” and “Homebass” respectively - were mixed by Robert Gordon, who once again ensured that the sub-bass was deep, heavy and capable of coursing through the bodies of dancers at Cuba and Jive Turkey.from the chapter
- 24HomebassSweet ExorcistBoth of the 12” versions - subtitled “Freebass” and “Homebass” respectively - were mixed by Robert Gordon, who once again ensured that the sub-bass was deep, heavy and capable of coursing through the bodies of dancers at Cuba and Jive Turkey.from the chapter
- 25Per ClonkSweet ExorcistIt was followed shortly after by “Per Clonk”, a low-slung chunk of bass-heavy Techno-Funk which played around with some of the same elements as its predecessor, and the deliciously clanking and percussive insanity of “Samba”, where off-kilter synthesized marimba melodies danced above quirky vocal samples, mind-mangling electronics and a typically rumbling bassline.from the chapteralso in the bleepography
- 26SambaSweet ExorcistIt was followed shortly after by “Per Clonk”, a low-slung chunk of bass-heavy Techno-Funk which played around with some of the same elements as its predecessor, and the deliciously clanking and percussive insanity of “Samba”, where off-kilter synthesized marimba melodies danced above quirky vocal samples, mind-mangling electronics and a typically rumbling bassline.from the chapter
- 27CC EPSweet ExorcistBefore parting company with Warp Records, there was one final blast of polyrhythmic, dancefloor-focused insanity from Sweet Exorcist: the “CC EP”, a suite of tracks based around re-using and re-processing the same basic set of percussion and vocal samples.from the chapteralso in the bleepography
- 28Trick JackSweet ExorcistThere were still bleeps present - especially on the wild “Testone” sequel “Trick Jack”, whose name may have doffed a cap to another Warp-signed act, Tricky Disco - but, by and large, the vibe was far funkier, with samples lifted from Latin-tinged Post-Punk records and rubbery Jazz-Funk cuts.from the chapter
- 29Track 4 (Cuba Edit)LFOThe importance of Cuba in shaping some of the early Bleep & Bass cuts can be spotted in the name of one of the B-sides to “LFO”: “Track 4 (Cuba Edit)”from the chapteralso in the bleepography
- 30RetroactivitySweet ExorcistThis “early version” of “Testone’ can be heard on Warp’s 2011 Sweet Exorcist retrospective, “Retroactivity”.from the chapter
- 313AM EternalThe KLFThe famous bleeps from “Testone” popped up in sample form on numerous records in the months following the record’s release, most notably the KLF’s chart-topping “Live at SSL” version of “3AM Eternal”, much to Barratt and Kirk’s irritation.from the chapteralso in the bleepography