Brilliant selection Keira.  Why don't you start DJing out?

Chris & Cosey - The Gates of Ancient Cities 1982
Eurythmics - Ministry of Love (extended) 1985
Hunting Lodge - Tribal Warning Shot 1985
Art Fine - Dark Silence 1985
Craig Leon - Donkeys Bearing Cups 1981
Cluster - Hollywood 1974
Ozo - Anambra 1976
C Cat Trance - Shake The Mind 1986

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This is my 4 hour opening set from the December edition of Group Therapy in Copenhagen (@grouptherapy_cph). I was really sick in the week running up to this party and very nearly pulled out but am so glad I made it. 

The party was a world AIDS day fundraiser raising money for AIDS-Fondet and “Ungegruppen”. It was also the first party in their new venue Den Anden Side. The vibes were incredibly special and I was honoured to play the first songs in their new home. This was my love letter to everyone we lost to AIDS and a chance to play some of my most cherished records. 


x

Midland @ Group Therapy - Copenhagen [03.12.22]

Rinse FM Podcast - Youngsta - 28th April 2014

COMBO

HOT FUN IN NOX NIGHTCLUB LILLIE FRANCE

Bucky Skank is my hobby. I've loved Jamaican and Jamaican inspired / influenced music for nearly my whole musical life. I don't consider myself an expert in any way but over the years I have amassed quite a lot of this music and it is one of a very few forms of music I can listen to all day without getting bored.

I have played about a half dozen full sets of this music and it has been like learning how to dj all over again. All those sets had a slightly shambolic edge to them as I found my feet but have been wonderful, if nerve wracking fun as I scrambled in the dark to find the right 7" to play next. It's definitely not something I'd like to do all the time but doing it one or two times a year is a true joy, so a big thanks to those who have come along and danced. 

There is also the Bucky Skank label, again very much a hobby which releases a couple of 12"s each year (the first one now sold out, the second one due shortly).

Anyway, here's a two hour mix featuring some of what I played at this year's Bucky Skank in Glasgow. Half of it was recorded on the night and half after the fact, at home. Hopefully the joins aren't too noticeable. A tiny handful of the tracks were on the mix I put up a couple of years ago (The Upsetters' "Bucky Skank" will of course appear in every Bucky Skank set I do and bookends this mix albeit in different versions). if you are looking for totally obscure, ultra rare Jamaican music, this is probably not for you but if you want to hear some of the myriad sounds that have come out of that small island or that it has inspired, hopefully it will be enjoyable; plenty of hits and lots of personal favourites from across 50 years (1964 - 2014), ranging from Barrington Levy, Bim Sherman, Prince Far I and Tenor Saw to Kahn, Cutty Ranks and Lady Saw.

The mix is "augmented" with my dub siren, some space echo and Maschine being used to trigger some additional sounds and samples.

The mix is a little over two hours long, is a downloadable 256kbps mp3 and is 230mb.

JD Twitch - Bucky Skank 2014 mix (NOT for laptop speakers)

Wake up with NTS... 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/breakfast/episodes/breakfast-call-super-parris-19th-september-2025

The NTS Breakfast Show w/ CALL SUPER & PARRIS 190925

One of the defining producers of the 21st century steps up for a rare, era-spanning mix.

We've been in a reflective mood lately: mulling emergent icons, modern classic and the cyclical nature of trends. All things bend around eventually, but if you lived through the mid-'00s the first time, it felt tricky to envision some specifics of those interim years making a second splash. More fool us. Amongst many other things, dubstep is well and truly back.

This resurged appetite for low-end has been a central storyline in 2025. Clear tells were there in the form of Introspekt's Moving The Center and Tracey's "Sex Life," two major highlights of the past 12 months. Alternately, cup your ear to the tremors rumbling across the world and you'd find Mala packing up crowds with gusto. Which makes closing out the year with a mix from the man himself serendipitous.

The South Norwood-born sub sensei has held an anchor role in the movement since its earliest days. A little like what Upsetter was to Black Ark, the principles Mala, Coki and Loefah's DMZ laid down have been expanded on by Deep Medi, a label that has cultivated a loyal fandom who watch over the catalogue like a hawk. (Six years of frothy debate and knowing in-jokes between MEDi 99 and MEDi 100 paints a picture of both steep expectations and an affinity for gently ribbing their leader.)

But Mala's banner 2025 hasn't relied on the heads alone. The adrenaline of his fissuring basslines and barrel-chested vocals have drawn people into his orbit, and there are rarer qualities at play, too—like pacifism, winked at by the demilitarized name and reinforced on their all-time greatest tune; or contemplation, inked on flyers beseeching the crowd to meditate on bass weight.

In that spirit arrives a mix we've asked after for years. Subtitled The Listening Session, it's rare on two counts. Despite his enduring popularity, Mala is a conspicuous absence on most DJ series. (It's not that he doesn't enjoy recording, just gets spooked by the reaction.)

A nearly-three hour studio set—spaciously paced and laced with a combination of 2025 highlights, freshly-cut dubplates and some of the biggest anthems in the genre's history—is unheard of. No tracklist for now, on Mala's request. Soon come.

RA.1016 is the kind of document that jogs the memory back to when dubstep was a discrete enterprise, something you could only fleetingly access by, say, dialling into Youngsta on Sub FM, ripping 320s of "Circling" off long-forgotten blogs or hugging the back wall of Mass. Which, in service of thinking the evolution of 21st century electronic music, is pretty perfect really.  – Gabriel Szatan

Find the interview at ra.co/podcast/1035

@maladmz
@deep-medi-musik

RA.1016 Mala

We’re so thrilled to publish this incredible recording of one of the most beautiful and healing memories on the subglow dancefloor — NM DJ’s set artfully descended from 160bpm into a soulful mid tempo deepness that feels increasingly rare on Berlin dancefloors — inciting warmth, heavenly groove, and many tears along the way. 

"The DJs Ceci has booked often leave me awestruck, especially when I hear a paradigm of mixing that feels more like sculpting: sound is made almost visibly malleable, without clear borders of where one track ends and another begins, and reality in that nightclub is warped, refolded, churned. I’m more basic I guess – I’m just a girl who loves her deep cuts and her vocals. And what defines “deep”? To me it’s a track’s capacity to hold both abstraction (spatial, textural, tonal) and soul, regardless of genre. If a door to the divine could be hinged in it, then it’s deep. At the end of a party, if the floor was hot, my mind is already so bent and the body so broken, that’s all I want. Or, as D’Bora Rivers sings in the canonical “Ncameu” that ends the set, “something strong and sweet, like honey in my drink…”

-- NM DJ @tabloidpress

subglow/Live 8: NM DJ @ subglow anniversary

The Scion and Hard Wax man gets low on this week's RA podcast.

RA.147 DJ Pete

I still often get asked why I don’t put up more mixes that reflect my more usual dj style. I’m not sure really but maybe it is because I get to hear myself play like that all the time and it’s more interesting to me to put up other stuff? I also like that people who have just come across me and check out my Soundcloud for the first time might think they have stumbled on a reggae dj with the same name by mistake. To help stoke that confusion, here’s a third Bucky Skank mix. Bucky Skank is an annual night I do in Glasgow where I play all Jamaican music and Jamaican inspired music. This year was the 6th edition. I think I get slightly better at doing it each year and reckon by 2031 I might have nailed it. 

This Bucky Skank mix is made up of two sections recorded live on the night of this year’s party combined with a section recorded at home. Hopefully my cunning editing will make it hard to tell where the joins are. It is available to download as a 320 mp3. The music here ranges from 1971 right up to 2017.

I think this mix contains completely different tracks from the other Bucky Skank mixes, or at the very least with minimal crossover and is perhaps my favourite so far. It is LONG! 2 hours 30 minutes and perhaps delves a bit deeper in parts than the previous mixes, though I hope it is still fun to listen to. A lot of fun was had on the night and ultimately that is what the Bucky Skank nights are all about. Roll on next year’s.

JD Twitch - Bucky Skank Jamaican Soundsystem mix 2017

Hot on the heels of podcast 13 comes this one to celebrate 50 years of Jamaican independence. It was recorded live at the Sub Club, Glasgow on Sunday 29th July 2012 and is an edit of the 4 hours of Jamaican music played that night. Twitch did a one off night of all Jamaican music in 2011, that time only playing 7" singles and had so much fun that we decided to make it an annual event, this time allowing a few 12"s and album tracks in there and giving the night a name - Bucky Skank - named after a Lee "Scratch" Perry song. There is a very popular fortified wine on the West coast of Scotland called Buckfast that is known locally as Buckie so it seemed the perfect name. Twitch will also be launching a Bucky Skank record label soon to release his and others takes on Jamaican dancehall. It won't be a very prolific label.

Alongside the records there was a Roland Space Echo, a dub siren, a very old percussion synthesiser and Maschine, used to trigger various sounds and vocal samples. JD Twitch was playing the records and triggering the samples while JG Wilkes was operating the Space Echo, dub siren and percussion synth. Listening back, we probably overdid the sirens and bleeps in places, but hey, it sounded good on the night. 

Musically it is all over the place and spans 50 years of Jamaican (and British-Jamaican) music but not in any chronological or even logical order. Reggae purists may well be horrified, but whatever, it was one of the best nights we put on all year. I got to play so many records I adore and the atmosphere in The Sub Club was fantastic, bringing in a lot of people who had probably never set foot in the club in their lives before. There were a lot of big smiles all night. Normally when I finish a dj set I am quite wired but after playing this music for 4 hours with only a quick bolt to the toilet mid way I was incredibly relaxed (as were all the staff in the club). Rastafarians believe Reggae is the music to bring world peace and unite mankind and even my in built cynicism finds that hard to argue with.

You'll probably notice it starts off quite quietly and gets louder. This is simply due to the volume being turned up as the night went on and we thought it better to leave it how it was rather than mastering the audio. Mixing wise, well, there are a lot of crashing segues and some minimal mixing but this was most certainly a case of a night where the music was far more important than any technical prowess. Give me another ten years of doing this annually and maybe it will all be semi-seamlessly mixed.

I'll end on a controversial note. Over the years I've lost count of the number of times I've heard people say they hate Reggae or that when I've played a single Reggae song in a set it has ruined their night. Apart from "hate" being quite an extreme emotion to direct at music I've always been bewildered how anyone can dismiss an entire nation's music that is so varied, joyous and original and whose DNA has become woven into so much other music, especially here in the UK. Just as I'm always suspicious of anyone who is a Tory I'm suspicious of anyone who can "hate" the entire musical output of Jamaica. Either they haven't been listening very deeply or possibly there is a fundamental flaw in their musical soul?

Almost every track on this podcast was played from vinyl. Jamaican record pressings can be a little bit poor on occasion so there are a few tracks with quite low fidelity and the odd skipping record here and there. As usual we aren't making a track listing available for the podcast, simply because we feel that knowing the contents often precludes actually listening to it. But, if you want to know what anything is, feel free to get in touch and we will let you know. The mix is a 320kbps mp3 (330mb) and is 135 minutes long.

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