I had three or four possibilities for the first three releases on the label, but felt that Search & Destroy laid down a marker of the sound I wanted and continued in the vein of Tyler/Geezer tracks that we'd made before.

The title of Search and Destroy title comes from the main vocal sample used.

Most other similar labels were being distributed through Kinetic Distribution at the time, but I wanted my label to stand out from the crowd and decided to release through Alphamagic as they didn't have many techno labels at the time. It transpired as a so so decision.

Nevertheless, it was deemed good enough by Radio One DJ's, John Peel and Judge Jules to play on their shows multiple times. That was just the start the label needed and easily several of the proudest moments of my music career.

Mark Tyler 'Search & Destroy' [No Entry 1A] (2000)

I had three or four possibilities for the first three releases on the label, but felt that Search &amp; Destroy laid down a marker of the sound I wanted and continued in the vein of Tyler/Geezer tracks that we'd made before.

The title Russian Hill comes from a chapter in a William Gibson book, named after an area of San Francisco.

Most other similar labels were being distributed through Kinetic Distribution at the time, but I wanted my label to stand out from the crowd and decided to release through Alphamagic as they didn't have many techno labels at the time. It transpired as a so so decision.

Nevertheless, it was deemed good enough by Radio One DJ's, John Peel and Judge Jules to play on their shows multiple times. That was just the start the label needed and easily several of the proudest moments of my music career.


Mark Tyler 'Russian Hill' [No Entry 1B] (2000)

Out of the three releases that were lined up for the opening of No Entry, I seem to remember The City exciting me most.  Search & Destroy was much firmer on the floor, Interstitital more trance-like and The City fell between the two with the atmospheric breakdown and driving synths and bassline.

I remember playing this to a mate in my car and being really excited about its release.  Little did i know that shortly after this, the distributor would prove themselves as the charlatans they were, resulting in a nine month absence for the label while I extracted myself from their contract and then a label overhaul to mark the new period for the label.

Mark Tyler 'The City' [Entry 3A] (2000)

After wrangling with Alphamagic to give up on their morally bankrupt contract, pay up and give me my stock back, Entry 4 encapsulates the mood of wanting to get the head down and get on with it after the loss of momentum for the label.

The logo was redesigned (and changed again after this release) in more of an effort to distance myself from the 'bad old days' of Alphamagic.  It's always good to get a labels logo right first time, or get a pro to do it.  I did neither.

No Entry, Nomark, The Underground is closed...all pretty negative phrases.  Somehow, it felt as if it was a closed shop, trying to make a living in the acid techno scene and here in lies the dichotomy as the majority of the people in the scene were good friends and you can't expect an outsider to walk in without making a lot of effort (i didn't) but in reality, i was also doing quite well in the scene, all things considered.  I like the dichotomy though and always felt on the fringes of the scene, which I was and rightly so. 

Using No Entry signs was a brilliant marketing tool though and a nomark is a nobody in certain colloquial phrases, so it all fitted in with my constant like of double meanings for most things.

The voice on this track was mine.  Guy got to use his so much....I wanted a go and hadn't done a vocal since Hitman.  So I did.

Nomark 'No Entry' [Entry 4A] (2001)

Pistoloco heralded a new pseudonym and a deeper sound for this release. 

Ghost Copy rips vocals from Ghost In The Machine and throws them down into a deep breakdown, whereas The Duck is named after the synth sound that sounds like a Duck. It's as simple as that. 

The name Pistoloco comes from a possible bastardisation of the name given to the hired killers used by Pablo Escabar, the famous Columbian drug baron.

Pistoloco 'The Duck' [Entry 7B] (2001)

The name 'The Accelerator' comes from a lovely little story about young Columbian boys  who are unable to have sex with the Catholic females of their village before marriage.  So, the boys turn to local donkeys for practising on and to aid their smoothness of entry, they tie a rope around the donkeys nuts and loop a stirrup in at the bottom.  When they step on the stirrup, the rope tightens and the donkey tightens as well, giving the boys more pleasure.  This piece of rope is called the accelerator!

Mark Tyler 'The Accelerator' [No Entry 10B] (2002)

Entry 11 seems to have a touch of the Routemaster vibe with lots of layered vocals.  It was also the last Geezer collaboration to make in onto the label as I looked to freshen things up a bit.

Nomark 'No Future' [Entry 11A] (2002)

The last and ultimate No Entry release.  

Where the label started out as a project in fusing hard dance, techno and trance, it ended with a long standing desire to try to throw in some D 'n' B elements also.  

Before I started making records, I loved the acid sound, but when I started making tunes with Geezer, the sound have moved on and fast flowing hard techno was the order of the day.  I'd always had an interest in whether breakbeats could be added into this sound, but never quite had the chance to really experiment - and never did unfortunately. 

Working with Ant gave a little more leeway in using dirtier basslines and after a couple of releases, we found the sweet spot with this AA side release.  Both sides really kick the arse out of what we were doing and within a day or two, the other stalwarts of acid techno were asking about the tracks Ant and I had made (obviously Ant had made noises about how good he thought they were also, which was very pleasing).  

Vocal snips ripped straight from a club scene in Blade, which meant lots of work in mashing them up and jittering them about all through the track.  This gave a lot more room for experimentation and effect and the result is a stunning, if very different No Entry release.  

Once again the label had managed to cross genres, forge boundaries and create the unexpected, but the game was over, this was the last release for the label.  I had booked an around the world year away, the new distribution deal wasn't selling as much as i hoped, the DJ gigs were slowing down, it was time to cut and run.

Super:Vision 'Sniper' [Entry 14A] (2003)

Always good to work with Mik Cree aka Dynamic Intervention. The label photo is taken from the top of a hotel in Shibuya, just before having post gig breakfast with Yoji Biomehanika.  

Mark Tyler 'The City (Mark Tyler vs Dynamic Intervention Remix)' [Re-Entry 3A] (2001)

Those crazy Japenese......Yoji's mix is just berzerker, as is he.  What a great guy, from long mini bus trips through Holland to breakfast at the top of the Mark Hotel in Shibuya where he lifted the milk lid and declared it as 'Japenese Mans Spunk'.  Nice.

Yoji Biomehanika 'Go Mad (Nu School Acid Techno Mix)' [Re-Entry 4A] (2001)

Hardcell follows a tried a trusted formula by Guy and Mark.....hard beats and lots of mashed up, reverbed and overlaid movie sweeps. Made for dirty, dark, 'avin it techno parties, this was the sound of No Entry, now bleeding into Re-Entry.

Guy McAffer & Mark Tyler 'Hardcell' (Re-Entry 5A) 2001

Bit of a weak release, in hindsight. As much as I like Agogo Dancer, which is full of agogo percussion, its a bit of a filler track and not really fit to lead a 12 inch release. That doesn't mean its not good, it means a better track could have carried the release.

Guy McAffer & Mark Tyler 'Agogo Dancer' [Re-Entry 6AA] (2001)

If anything, I was even prouder of this mix than the No Entry side.  Dave Parkinson engineered it in his Clapham studio, but spent a lot of time away from the desk, allowing me to get the rhythms in place, the builds, the funk.  

I loved making this tune, it finally embodied how I saw the cross over between the percussiveness of techno, the funk of house and the cheesy fun of hard dance.

This was a watershed moment for my labels and my efforts to break the barriers between techno and hard house.

Mark Tyler 'Buckle Up (Hangman Mix)' [Re-Entry 7AA] (2001)

This remix was the first outing on vinyl for Trash Compactor, a pseudonym for Guy McAffer and Mark Tyler.  We went on to record several more singles and Eps on Boscaland and No Entry after this.

The remix itself was a leap forward in production values and understanding for me, creating a track worthy of the A side, but without the hollywood breakdown.  This really was the starting point for the obsession to mix hard dance with techno and a lot more of my ideas are seen in the arrangement. 

On top of that, it got a lot of attention from DJ's as this really did bridge a gap between sounds for them.  Plus Channel 4 used it on a late night TV show, set to images of space travel.

K90 'Species (Trash Compactor Mix)' [Bosc 47] (1999)

Nish's productions were excellent, so I was very pleased and lucky to have him on the label.  

Standown 2001 is just typical Japanese mayhem, a worthy addition to the No Entry stable and sound.

Nish 'Standown (2001 Remix)' [Hangman 2a] (2001)

Nish 'Ghost Stab (2001 Remix)' [Hangman 2b] (2001)

I can't remember why I wound down Hangman.  Maybe these techno tools for hard house heads weren't working out, but whatever, this was the last one.

Mark Tyler 'Misdirection' [Hangman 3a] (2001)

Deep, moody tech hard house anyone?  No, I thought not.

I love it though.  More tech tools for the discerning DJ.

Mark Tyler 'You've Been Played' [Hangman 3b] (2001)

It can be argued that tracks made with a third person, who hasn't produced that much and doesn't know how the other two work, may not be as good as they could be.  There are lots of concessions given to get that person more involved etc.

Admittedly, this isn't the best Zero release ever, but it made it onto vinyl, so that's no bad thing.

Zero vs Little D 'Insane Behaviour' [Paradigm Shift 12A] (2001)

I watched the events of September 11 unfold while I was at Geezer's studio, so a fitting name for a track made there.

Zero vs Little D 'Ground Zero' [Paradigm Shift 12B] (2001)

Admittedly, when Guy and I made these two tracks, I wanted to use them for a new label idea, but he decided he wanted them for Raw, which was even better, as far as I was concerned.

This would have been my choice for the B side but was made the A for Raw, which goes back to my comment that different tracks work differently for different labels.

Guy McAffer & Mark Tyler 'Untitled' [Raw 06A] (2001)

Although this was unnamed on the Raw release, had I released it, it would have been an A side and called 124 Jubilee Gardens......

Guy McAffer & Mark Tyler '124 Jubilee Gardens' [Raw 06AA] (2001)

Me, Rowland and Guy in the studio was a long time coming.  And not always easy with our busy schedules at the time.  But as with most good recording partnerships, a pair works well, a trio is not so easy, especially when both Ro and I had made a lot of tracks with Guy so probably had our own ways of working. So, it was good to finally make something altogether, but we didn't rush back in to make more.



Tarball & Lungbutter Vs Zero 'Burger & Chips' [Antidote 011A] (2002)

I seem to remember us not being that well prepared for this studio session, but Rowland had some films samples on his laptop, so that's what we used, job done.

Being Tarball & Lungbutter, we did make a pass of this track with a 303 included, but luckily Rowland chose the non 303 version for the full release. 

Tarball & Lungbutter Vs Zero 'Disgracelands' [Antidote 011AA] (2002)

It's a proud moment to get a release on Bionic Orange, but an even prouder one to name it after the centrefold headline of a porn mag, found in someone's bedroom in Melbourne, by me and Guy.

Shouty noises are no doubt by Guy and the messed up random stuff in the second part of the break come courtesy of Guy's brilliant, home made note chopping box of tricks thang. 

Zero 'Eating Chinese' [Bionic Orange 14A] (2001)

Not often Guy and I made acid, so Bionic Orange was a good place for this to end up.

(Written & Produced by Guy McAffer and Mark Tyler)

Zero 'The Hero' [Bionic Orange 14AA] (2001)

Only my third release and one of the early studio sessions with Guy.  He had a sound effects CD, which we put to good effect as well as his voice.  

The Hitman was a figment of RTB's imagination as we flew home from Spain after a gigging weekend in late 1998 (as well as swapping passports all the way through passport control and back into Blighty).

Mark Tyler '(Here Comes) The Hitman' [Antidote 001A] (1999)

Really don't remember much about this one.  

Maybe I was asleep in the back of the studio while Guy wrote it for me.

(Remix produced by Mark Tyler.  Engineered by Guy McAffer)

K90 'Genetik (Mark Tyler Remix)' [Telica 28] (2000)

As this seems to be the last track on my last DAT, I guess it's the last track I was involved in making......

Made with the Energy UK DJs, all four of us packed into Guys little studio.....but it came out really well and continued the funky chopped up vocal work that i'd been doing with Ant.

Energy UK DJs, Mark Tyler & Guy McAffer 'Ear Drums' [Energy UK 02] (2002)

My first foray into the world of music production, or more likely, sitting in the studio and chipping in while Jon The Dentist knocked the track up from Cornflakes packets.

The story goes that I was working at Truelove Label Collective at the time, running his and the Liberator labels.  Jon and I had just come back from a 750 mile round trip on his bike, taking in Dance Valley and then Bruges, drinking beer, checking out women.  It was summer, the labels were quiet so we went on to Cardiff to the studio.

Some of my acid techno heroes had passed before me on the Boscaland label, so I was pretty pleased to be on there.  Little did I know what the future held for my music production career.

Pyrotech 'Burn Hollywood Burn' [Boscaland 43] (1998)

Anyone want to remix it for fun...?

These samples are downloadable.

EUK02 Ear Drums remix parts

Find us on Facebook, all friends requests accepted.  Look for the No Entry logo.

There we have a complete time line of all releases, artworks, press releases, insider info on track productions etc.

We will also be considering block releasing digital versions of the back catalogues.

See you there.

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