Having some fun and doing things a little differently (at least for me) on this one. 

Afrofunky uses a licensed sample via TrackLib as they were running a competition (which I didn't win). I picked a track from Ghana called Tinitini by Nyame Bekyere and Seaboy to use as my starting point and had a lot of fun with it.

Constant Time features live bass played by my supremely talented niece, wrapped around a bunch of Roland Juno synths.

Mother Lambe is my first foray into hardware synths, with me and my friend Phil messing around with his Moog Mother 32 to create the bassline.

And finally, Korgin, is a full on hardware session, made almost entirely from recordings of Korg synths at the Musical Museum in Brentford - chopped up and layered over a 707 kick drum.

Grab it from Bandcamp

Maximal Tendencies

Machine

It's You

Me and Phil playing around with his Moog Mother 32, twiddlin' those knobs to get the acid flowing, backing it up with a Modal D, some Modal 15 chords and (several) Roland 909 patterns, adding flavour with a bunch of vocal snippets, then cranking it up to 11.

Mother Lambe

Failing

Shades (BICEP PULSAR TRACK COMPETITION - FREE DOWNLOAD)

My entry for the TrackLib "Make the Next Iconic Flip" competition.
Samples taken from "Tinitini" by Nyame Bekyere and Seaboy from Ghana, originally released in 1973.
https://www.tracklib.com/music/artists/nyame-bekyere/tinitini

For this competition I really wanted to try for an afrobeat kinda vibe and after searching through the available songs on TrackLib I settled on this amazing tune from Ghana. I was hooked by the drums and especially the fills, but I couldn't believe my luck when they sang "Afrofunky" halfway through it! So that became my hook, along with the rest of the vocal parts. I separated the various parts, chopped them up and rearranged them along the timeline, together with a nice chord that I've repeated throughout the track.

After that I tried not to listen to the original so that I could create my own baseline and melody parts using a 'real' bass guitar together with a couple of clavs and synths with the Roland Juno plug-in. Then I drummed along to it, adding some extra patterns and beefing up the fills before adding a chopped-up bongo topper also from TrackLib.

Afrofunky

This one started out with the beat which was originally built for another track, but it was not needed there in the end. I'd just joined Roland Cloud and was playing around with the Juno plug-in and fell in love with it almost immediately. It was something about the amazing difference in the sounds it can make by just changing the velocity of the notes.

I found the arppegiated synth (Orion's Belts) and the chords (SY Anthrax) then laid down some simple sequences, and sent it as a demo to my niece who is studying Music for her A-Levels and is already an amazing multi-instrumentalist. I asked her to see if she could come up with a funky bassline to go with it, and after a couple of key/scale changes she sure delivered.

I worked on the arrangement and then we recorded a couple of takes with her playing the bass live into the laptop. From there it was just a matter of chopping up the versions and finding all the best bits - no quantising required! I dropped another Juno preset (MegaBass) underneath it in a few places and then spent ages trying to find a lead to do it justice before realising that, of course, the bass was the lead. So I just added in a couple of freestyling melodies following her lead with the Anthrax synth instead.

Constant Time

Great

A visit to the excellent Korg exhibit at the Musical Museum in Brentford gave birth to Korgin. A whole room dedicated to Korg synths, including one built into the wall that was used to teach Japanese school kids how synthesisers work, an all chrome Prologue that looked like it must have belonged to Daft Punk (but probably wasn't) and of course classics like the MS-20.

At one end of the room there were a bunch of hands on demo units including the Volca range, a MicroKorg and a Minilogue. After checking with the curator I plugged in my laptop and had a play around with as many as possible, recording the random outputs of preset pattens and jams, with plenty of knob twiddling on top.

When I got home, I listened back to it all, discarded half of it and chopped the rest up into what became Korgin. Everything in the track comes from that session at the museum apart from the 707 kick.

Korgin

New toys. New ideas. New at this. 
ChatGPT dreamt up the image.

Acid Slaps

20250806 Bicep @ Lokerse Feesten

@thoughtsonelvis invites @ollyrodwell_ to take over his show this month ahead of their debut B2B at Two More Years on September 6th. Olly’s hour long guest mix features garage, dance, some bass music and of course some upcoming tunes that he has been working on. Lock in for a hint of what they’ll cook up next month.





Thoughts On Elvis x Olly Rodwell Takeover 12/08/25 - [Voices Radio]

Andrew Weatherall's first official posthumous mix. The only b2b DJ Harvey ever agreed to. Six hours at Trouw. Full send — this one's special.

When mulling which direction to go in for RA's 1000th mix celebrations, many options came to mind. Some shadowy character 2-stepping around the fringe of our collective consciousness? An impossible-level IDM icon?

All tempting. But, ultimately, we are a DJ-forward publication and this is a DJ mix series. It felt truer to the history of the RA Podcast to release deep vault material from a time when the world of niche records felt different, tighter, more discrete.

The fourth-longest mix in the series' history is an unrepeatable marathon set recorded in 2012 at a superclub that no longer exists. 2012, incidentally, is farther away from 2025 than 2012 was from 2000... if we have to clock it, so do you.

It's the coming together of one British icon who passed away in 2020, and another whose time on the road has scaled back considerably as of late. DJ Harvey agreed to exactly one b2b set in his life: this one, with Andrew Weatherall.

The night took place at Trouw, an Amsterdam club already considered legendary before it shuttered its doors in the opening hours of 2015, as part of an RA series anchored around start-to-close combinations. Harvey was at the peak of an irresistible career second act, which dovetailed with a disco revival that dominated clubs for years. Weatherall, with infinite brownie points stockpiled from the '90s, remained everyone's favourite debonair psychonaut. 

What follows is 385 scintillating minutes of arpeggiated chug and slow-cresting climaxes, chronicling a moment when the resting heart rate of dance floors plunged lower than potentially any comparable point in the 21st century. A masterclass, and entirely self-contained in audio form.

If you've got time to spare, a fun side game is sussing out who plays what. A disco-dub cover of Echo & the Bunnymen? Smart money's on Weatherall. Exuberant EQ'ing of The Isley Brothers? Gotta be Harvey. As for the low 'n slow, lightly spangled house that was all the rage in the early 2010s (think Maxxi Soundsystem, Disco Bloodbath, Rub & Tug, C.O.M.B.I. and Full Pupp), it's anyone's guess. 127 BPM feels practically like a racecar.

When we kicked off our RA.1000 campaign, we outlined a few goals: tick off a handful of long-awaited dream guests, honour architects who shaped the world around us and deliver recordings you truly can't hear anywhere else. We sought to render an accurate picture of DJ culture in 2025 for the longhaul.

DJing and the mythmaking around it has undergone a quantum leap since 2012, let alone 2006, 1996 or 1989. For those of us who were kicking around in the former, there's a creeping melancholy that our prime is fast becoming a matter of historical record. The killing moon really did come too soon. 

Where will electronic music, DJ sets or any of this be in 2044? Hard to say. Best not to overthink that one. Instead, we want to say thanks to all contributors on the series so far. Now enjoy luxuriating in the company of two of the greatest to ever do it, together, for the first and last time.⁠ – Gabriel Szatan (Editor, RA)

@andrew-weatherall

Read the interview with DJ Harvey and Andrew Weatherall's family at https://ra.co/podcast/1016. Listen to all RA.1000 mixes, as well as the complete history of the RA Podcast, at https://1000.ra.co

RA.1000 DJ Harvey & Andrew Weatherall

Critical Method June 2010

music to listen to, mostly made without any singing and not really with any actual instruments either...

Constant Time

Singer and the Instruments

Related tracks