This is a remix I made years ago, of a well known Tom Petty song Learning to Fly. At one stage it seemed like this remix might actually go somewhere. I started getting interest from people in the music industry, it was remade in the studio and permission from the great man, or his manager/lawyer was gained. 

Alas it didn't come to anything, so here is the DJ remix version for your pleasure. 

Learning To Fly

Harmonaig - Dulus

Meet Bey O Bey, Kyiv-based dj and selector, in the 24th episode of Difficult Dance.
Slow grooves, bizarre rhythms and vocals in the fresh vinyl only selection by @bey_o_bey

Enjoy!

DD 024: Bey O Bey

Get it at https://fanlink.tv/PD6025

Czech producer Disco Shakerz makes a splash with his Play debut, the spectacular nu disco banger Late Night Visions. Part of Play Records NYE 2026 collection.

Hear more Disco Shakerz at https://soundcloud.com/tom-fabian-disco-shakerz

Play Records - https://playrecords.net

NYE 2026

Late NIght Visions (Original Mix)

GET IT

Disco Shakerz / Late NIght Visions (Original Mix)

Pre-save/order it at https://fanlink.tv/PD6043

 UK producer Dan McKie revels in his 80s dance music influences with the tech house banger Who Wants To Dance. A gorgeous blend of house music and indie dance, Who Wants To Dance will keep your dance floor full.

Hear more Dan McKie at https://soundcloud.com/danmckie1980

Play Records - https://playrecords.net


Who Wants To Dance

PRE-SAVE/ORDER

[PREV] Dan McKie / Who Wants To Dance

A seminal, pioneering figure in the 90s and 00s UK tech house scene, a mix from Pure Science is as bucket list as they come. With his first Australia tour over New Years approaching fast, the mysterious tech house luminary reappears from his subterranean science den with a whopping five(!!) hour live set, full of moody unreleased gems and carefully reimagined classics from his genre shaping 30+ year discography.

@purescience

Q. What an incredible journey this mix is! What sounds or feelings did you draw upon when gathering inspiration for the mix, and what listening environments could you imagine it being best enjoyed in?

A. Thank you for your kind words, Myles. I was initially asked to do a couple of hours, but thought, I would do at least four, and start with a good hour of unreleased ambient / downtempo tracks that I have made, that I wouldn’t necessarily play out to a dance floor, and build up the tempo. So to answer your question, I guess I was pulling out tracks that were made at a close tempo, and gradually build up to a Deep House / Techno range. There are loads of unreleased bits, which I will be featuring on upcoming albums. I guess the vibe was to keep it deep, and not to bang it out or play too obvious, and to add a couple of surprises in there, as it is for the Melbourne Deepcast after all.

Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much?

A. I am not playing any records, CDJ’s or harmonicas on this mix.. Lol, Only Ableton Live, Korg ER1 drum machine, Roland System 100 modular (clone), Novation Nova & Evolution uc-33 midi controller.

There is one track that I have only played out once when I was in my teens, and it was written in 1989, when I was 15/16 years old. It’s called Circle, and is on the mix at around 3:43:43 mark (The hypnotic track with the organ).

Q. I know you’ve made special edits of some of your classic Pure Science records for this mix, tell us about how you like to reimagine your music from 20+ years ago, and how your sound has evolved since creating your most iconic records in the late 90s..

A. I’ve been re-recording, mixing, and mastering some of my classic releases, and preparing them for live, i.e. stripping down the parts to the basic form e.g. Kick, Snare, Hats, Claps, Toms, Congas, Percussion, Bass, Keys, Vox, etc, so I can re-arrange the tracks on the fly or break down to my drum machines / synths / recorded modular jams if I feel I want to improvise to the crowd a bit, or I can just concentrate on the blend of tracks, and the selection like a DJ would, and have complete control of the journey..

Q. We’re all very excited to see you play in Melbourne on NYD! Tell us about your hybrid live / DJ setup, is that something you’ve been refining for a while now?

A. I am very excited too, as I have been going through, my old floppy disks going back to 1987, from my old Ensoniq SQ80, as it has just come back from a service, and has had its 10-year internal battery replacement. 
I have been rediscovering tracks that I had totally forgotten about. Specifically a couple of tracks that I love, one is called Moon from 1992, and the other called Tibet from that same era. Both were made a little faster than what I would play out now, and were over 135BPM, but if you slow them down a bit, they just sound chunkier, and PHATer. x  p.s. It’s only hybrid if I DJ too, and I probably won’t have time for that. Live only on this trip. Thank you all for your time, and I hope to see you on the dance floor..

MDC.316 Pure Science

Rambo Power Cycle Christmas Edition

Our contribution to the Floodlight album on bandcamp. This album was created by Beats in Kind to help raise money for the rebuilding efforts of Jamaica after hurricane Melissa. It's 80+ tracks of DnB goodness from artists all over the world!. Please go support the cause: https://floodlightdnbaid.bandcamp.com/album/floodlight-dnb-aid-for-jamaica

Bandcamp 

We Are The Heroes Now

Free Download

Hans Zimmer - A Time Of Quiet Between the Storms (Mark Sherry Remix)

Operating on a global frequency with a knack for genre-blurred grooviness, Berlin-based Zeynep delivers a transportive blend of rolling rhythms and cross-pollinated mind-lockers that hit all the right spots. For those that like their grooves deep, percussive, techy and mysterious you've come to the right place.

@zeynep

Q. What sounds or feelings did you draw upon when gathering inspiration for this mix, and what listening environments could you imagine it being best enjoyed in?

A. First off, I want to thank you for letting me be part of this incredible mix series :‘) what an honor! As a big fan of MDC I wanted to tap into a deeper, more mysterious side of myself while still holding onto the sound that feels like “me”. I tried to let the mix slowly build into that, so you can hear different influences coming through before it settles where it needs to be.

As for the ideal listening environment... I like thinking about how it can live in different contexts. That’s why I love when people surprise me with where they play my mixes. Someone once told me they put one on at an orgy which might be the highest compliment I’ve ever received. So yeah, whatever place you’re in (physical or emotional) if it fits, it fits.

Q. Are there any records in the mix that you were especially excited to share, and what is it about these songs that resonate with you so much?

A. The opening track export city by project runaway from 2020 really captures the kind of rhythm I’m into right now. It’s built around infectious percussion and a sleek, pulsing groove. It kinda mirrors internal restlessness and the desire to move which is what draws me in I guess. 

The closing track No Reason by Vertical Blank from 1993 has these darkwave vocals that feel sad and euphoric at the same time. It’s got this “the end is near but you’re not sure if that’s good or bad“ energy which sounds strange but that ambiguity is exactly why it resonates with me.. if that makes sense? 

Q. I know you’re a big advocate of community focussed DIY parties, what are some events you’ve played over the last year that you’ve felt best embody community spirit, and what do you feel are some of the most important elements required to achieve it?

A. Two of my favorite gigs this year were Earth Dog in NYC and noclubs in Amsterdam. Both were proper DIY raves in secret locations, built entirely from scratch with great sound and music by great people who genuinely care. What made each of them so special was how much they embodied real community spirit: everyone contributing, looking out for each other and creating a space that truly feels owned by the people in it. 

You feel it in how accessible and transparent everything is, in the shared ownership and in the effort to keep things affordable while inviting diverse voices into both the lineup and the organization. Being part of experiences like these makes people feel safe and part of something they get to shape, rather than just attend. And I think that’s a key element. Big up to both crews and anyone out there for keeping that culture alive and staying real and true to themselves!

MDC.317 Zeynep

by Sebastian Krüger
on Plusquam Records 2013

SBK - Starseed

I love all kinds of music from Classical to House, Jazz to Rock. I make music for fun, nothing else. 

Learning To Fly

Stephen M