Rod B. & Alvaro Garfunk bring you the Miami Underground Movement




ANDREW TECHNIQUE - biography

Be Ray Ya Book Hey, Can't Play the Piano, Luna Park and Fresh are just some productions which recently invested Andrew Technique as one of the hottest young electronic artists in the region. And it's not a small deal if we take in account he's determined to challenge the infamous Slovenian techno heritage and take it to the whole new level. When he's not abusing the decks and comps on his own, Andrew, a protégé of Flow Management and dedicated member of SDJF initiative, performs as a member of Foreplay!, Parallel Fusion (live) and R&A projects. Well, he sure came a long way so far. Especially if we bear in mind he grew up on metal guitar reefs.

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"It’s true. I'm an art junkie,” admits Andrew. “When I was a kid people thought I’d become a successful painter, actor, singer or whatever. But it was the music that attracted me the most for as long as I can remember. In business I believe in professionalism and dedication, but when it comes to producing and performing music I indulge in being lead by my feelings. And I’m very emotional. I can get goose bumps or even a tear in my eye listening to some great piece of music. I’m not ashamed to admit that. I do listen to the comments given by my friends and people that I personally believe they are credible critics. I respect good-intended critic, but I got where I am today mostly because I decided so and worked hard to reach some of my personal goals,” summarizes his career Andrej Šarkanj aka Andrew Technique.

Although as a master of his own destiny he almost abandoned his dream not so far ago. “Let’s just say I came to the major life-crossroad and had to decide what I wanted to do with life: I could have ended my music career right there and then or choose to channel all my free-time and energy into production and promotion of my own vision of dance music. It never was, and still isn’t, all roses. But now, that I finally get the positive feedback from the right people I’m happy I decided not to quit," explains Andrew with a tiny sparkle of satisfaction in his eyes. He made some big steps in 2007: he produced bunch of great fresh sounding tunes, his records are now being regularly played by the top deejays such as Umek and Valentino Kanzyani, some of his tracks were already broadcasted on BBC Radio 1 … But, regarding the strong competition, Andrew is aware that just a few of good releases will not bring him much.  So he doesn’t rest on early successes: "Dedication, sustain quality of releases and a bit of luck are key elements on which I build my future as an artist.”

It’s been more than a decade since he developed a passion for 4x4 beats. “I used to be into guitar music. I learned to play the piano, I joined the garage band as a teenager and I grew up on hard rock and metal,” smiles Andrew on not so distant memories. “During the high school period I came in touch with other genres, widened my musical spectrum and finally turned in totally different direction. I started listening to electronic stuff, learned how the music is selected, performed and produced and in a few years established myself as a tech-house deejay." Although some could label his sound more like unique mixture of minimal, electro and progressive elements. "We leave in a time of genre blending, so it’s hard to label one’s sound, anyway,” admits Andrew. "But those who follow my work do know I’ve always had a strong passion for organic African rhythms."

And how did he get his name? “Andrew was an obvious choice, just a translation of my civilian name. And I choose Technique since I was always very handy with stuff, I still work in a computer shop, MacGyver is a big hero of mine and the name also reflects what I do as an artist.” And the influences: "I listen to a lot of music and I got inspired by a lot of great artists along the way. I try to find something special in every piece of music and all musicians are mentors to me in a way. But the most important influence for me as an artist was and in a way still is our local super club Ambasada Gavioli. It was the place where I was introduced to electronic culture and where I experienced some great performances of leading global deejays.”

Andrew is also known as a “very friendly artist”. He's a member of SDJF initiative that is dedicated to constant development of the local electronic club scene and supporting young artists. And when he's not performing on his own, he abuses decks and comps as a member of Foreplay!, R&S and Parallel Fusion (live) projects: "There were also some others, but this things come and go and only the best stay. The basic idea behind collaborations is to get together with other artists, develop and share ideas or blend genres. And it's always more fun producing and performing music with other people than on your own."

As a producer he gets all the help he needs from his musical guru Tomy DeClerque. He established his name as part of Tomy or Zox combo on the house scene back in the 90's and is now successfully running his own studio that is second home to some of the hottest young producers in the region. Tomy and Andrew debuted on Kanzyani's Jesus Loved You label with the Obala EP in late 2007. Tomy also remixed Fresh which was included in Umek's Essential Mix and released on Circle Records: "Studio is my favorite place for spending free time. I go there most of the days and I try to channel my ideas, thoughts, wishes and feelings into the music." And since he's very passionate guy, there's a truckload of new records with Andrew's name on it planned for release in forthcoming months. "I'm already well established artist in the region, so now I'd like to spread my sound trough the rest of the Europe and elsewhere. There are many challenges I'd like to take, but the ultimate would be performing on another planet. I'm not kidding. I believe this is something I could achieve as an artist, so don't be surprised if you get a postcard from Mars or Venus someday."

Playlist:

1      Snice - Original Mix      Ray Okpara      Oslo

2     01 Analogic Love (Original Mix)     Ismael Rivas & Luis Damora     Suara

3     Who Cares! - Original Mix     Agnes     Eklo

4     Aloo Ma Auzi - Bearweasel's Linear Drum Edit     Dragosh     Viva Music

5     The Swarm - Original Mix     Dualton, Masuki     Elite Records

6     Amelie - Format:B Remix     Butch     Groove Attack

7     So Sexy - Alex Kenji & Sara Galli Mix     Combo     Starlight

8     Circles - Original Mix     Loko     Soulman Music

9     Kamikaze - Sinisa Lukic RMX     Unknown     Unknown

10     Who's Afraid of Detroit? (3 Channels Remix)     Claude VonStroke - 3 Channels remix     dirtybird

11     Vertigo (Ahmet Sendil rmx)     F.Sonik     Evolution

12     73 Tomtom Avenue - Original Mix     David K     Tsuba

13     Korea Tabs - Harry Axt Remix     Holgi Star, Holger Flinsch     Kiddaz.FM

14     Jo The Monster - Agaric Remix     Lemos     We Are Records

15     So Good - Original Mix     Daley Padley, Paul Cooper     Stealth Records

16     London - Original Mix     Adam Beyer     Drumcode

17     Emotion 1 - Dimitri Andreas Remix     Dany Rodriguez, Davy Dee     MB Elektronics

18     F16 - Original Mix     Marco Bailey, Tom Hades     Hedgehog

19     Maki - Original Mix     Anja Schneider     Mobilee Records


Booking contact:
FLOW:MNGMNT
www.flow-management.net
info@flow-management.org

Marian: +386 41 234552
Alex: +386 51 352111

Rod B. & Alvaro Garfunk bring you the Miami Underground Movement






DJ UMEK

Uroš Umek is internationally acclaimed music producer from Slovenia, seducing the masses with his own music blend for more than a decade. Always on the look for new sounds and determined to challenge every existing cliché in music industry, he managed to define his own vision of vanguard techno. Sure, this would not happen without the support of his loyal peers who’ve joined him on the production platforms such as Recycled Loops, Consumer Recreation and Astrodisco, with which they defined “Slovenian techno sound and successfully invested it as an important driving force on the global club scene.

The year 2007 marked the beginning of new chapter in Umek’s music career. After spending enormous amount of time and artistic energy bringing his characteristics sound to the whole new level, he presented new international music therapy called 1605 – Sixteenofive. No doubt this was a very risky move for such an established artist as DJ Umek. But it was the only way for him to stay on top of the game. And it seems he picked up the right decision at the crucial time: the response to his new vision of electronic dance music from his peers, critics, media and most importantly his fans is great and his productions are supported by some top dogs in the industry.

Umek recent productions include highly acclaimed club releases such as Overtake & Command, Ricochet Effect, Another Matter Entirely and Faithful Nights, but it were MTV supported hit singles Posing as Me and Carbon Occasions that stirred the most media attention and crossed over to the daily radio stations. Umek’s releases were lately included on the premiere club compilations mixed by artists such as Sander Kleinenberg, Judge Jules, Eddie Halliwell, John Digweed, M.I.K.E. or Carl Cox. He was amongst the headliners of esteemed summer music festivals such as Primavera, Monegros or Dance Valley and he conquered the South America on the joint tour with Valentino Kanzyani and Marko Nastić once more. And this was only the introduction in the Umek’s year 2008, when he plans to finally present long expected new artist album and his own live band.





Special Thanks to Matthew & Umek

Rod B. & Alvaro Garfunk bring you the Miami Underground Movement




Richie Hawtin Biography 
 
Artist, DJ, conceptualist and ambassador, more than anyone else in modern electronic music, Richie
Hawtin has relentlessly proved himself to be a true innovator. The one-man mogul behind acclaimed
Techno imprints Plus 8 & Minus sends signals out all over the world from his HQ in an old fire station in
Windsor, Ontario – just across the border from Detroit Techno City. The signals are constantly evolving, his
Plastikman persona gave Techno a unique face with a series of four ruthlessly minimal albums of skeletal
beauty, while breathtaking festival live sets at Glastonbury and Tribal Gathering helped invent stadium
Techno. His “Decks, EFX & 909” album released on novamute in 1999 expanded the concept of a DJ
mix album beyond the imagination of most DJs. As a pioneering DJ and party promoter he was banned
from entering America for 18 months. Yet this jet-setting international futurist is as at home exhibiting
alongside acclaimed modern sculptor Anish Kapoor as he is headlining a bush rave with Josh Wink
somewhere in Western Australia.
 
More of a decade into his career, it’s no surprise that the every-youthful Hawtin is up to something new.
This time, he’s reconstructing the DJ mix album even further with “DE9: Closer To The Edit”, the
groundbreaking new album set for release on the novamute label in September 2001.
 
His first mix album, for the Mixmag Live series, saw him use extra effects and drum machines as long ago
as 1993, “Decks, EFX & 909” cut laser-style between tracks and now, “DE9: Closer To The Edit”, sees
Hawtin use his sampler to tear the skin and the flesh from the tracks until there’s just a skeleton left, which
he reassembles into a kind of Frankenstein’s robot. The result is a mix album like you’ve never heard
before.
Hawtin describes this unique process “I recorded, sampled, cut and spliced over 100 tracks down into
their most basic components. I ended up with over 300 loops, ranging in different lengths. I started to
recreate and reinterpret each track and then put the pieces back together, as if an audio jigsaw puzzle –
using effects and edits as the glue between each piece”.
 
A classic like Carl Craig’s ‘4 My Peepz’ (under his Paperclip People guise) breathes in and out in less
than a minute, like a lonely spirit lost on the hard drive.
 
“I don’t like mix CDs, everyone’s being lazy, so I gotta do something different,” says Hawtin. “Some people
think it’s about me using some extra equipment – a drum machine and some effects - but it’s a whole
philosophy really. ‘Let’s take it to the extreme, to somewhere that’s it never been before’ “
 
Hawtin believes the whole DJ thing is stuck in a groove. So beyond “DE9…” he is championing a new DJ
system developed in Holland called Final Scratch, with Plus 8 partner John Acquaviva. Dance and
Electronic music is the most technology-based genre of all, but to Hawtin’s frustration it’s still rooted in a
music delivery system developed in the 19th Century: the gramophone record. Even though more and
more DJs play tracks burnt onto CD, vinyl still rules because it’s easier and instinctive to control. Final
Scratch links up to the normal two-turntables-and-mixer set up, but lets you play tracks stored on a laptop
using a special piece of vinyl as a ‘mouse’, or controller. You can access literally thousands of tracks, and
scratch, cut, slow and mix them just like normal records using this special piece of vinyl. It’s nothing short
of revolutionary. As Hawtin enthuses: “It feels and acts like a regular record.” He’s already using Final
Scratch to play unreleased tracks by Josh Wink and Speedy J, and special re-edits of some of
Hawtin’s classics and personal faves.
 
 Born in Banbury, Oxfordshire, England, on June 4th 1970 Hawtin emigrated with his family when he was
nine to Windsor, Ontario, where his dad Mick still works as a robot technician in the General Motors car
factory (his mother, Brenda, is in real estate). Richie cheekily borrowed his dad’s persona for his house
alias Robotman. His brother Matthew, who shares the Windsor fire station studio complex with Richie, is a
visual artist. By 15 Richie was creeping out of the house to cross the border and go clubbing in Detroit. By
17 he was DJing at The Shelter, a dark basement club where he mixed House and Techno with
Industrial music by Nitzer Ebb and Front 242. He had his own show on Detroit’s 96.3FM – inspired by
a late ‘80s Detroit radio DJ called The Wizard, now better known as Jeff Mills.
 
As a teenager Hawtin, already into Breakdancing and Electro, was stirred by the radically beautiful machine
music being fashioned by Detroit Techno pioneers like Juan Atkins, Derrick May and Kevin
Saunderson. In 1989 he set up Plus 8 Records with John Acquaviva to release their own tracks and
push new artists. They started running parties in Detroit. But far from welcoming them, the tight-knit Detroit
Techno scene initially turned a cold shoulder on the two renegade Canadians.
 
“It pissed a lot of people off because there wasn’t anyone else in the city doing it – it took someone from
the outside to come in and say, ‘Look, wake up,’” Richie recalls. “These guys [May, Atkins and
Saunderson] have left. They’re doing their thing overseas.”
 
Plus 8 began to gather momentum with a richly varied catalogue of hard-nosed, cutting edge Techno
from artists like Speedy J, Dan Bell and Kenny Larkin. Along with the resurgence of Detroit’s
confrontational Underground Resistance, this marked the second wave of Detroit Techno. “We all put
the focus back on Detroit for a while, we didn’t want to make traditional Techno, we were inspired by
traditional Techno. Derick, Kevin and Juan had sent these waves all over the world and we were the first to
feel the rebounds of their ripples”. 
 
By 1993 Richie Hawtin’s Detroit parties had become legendary intense affairs as freaky dancing clubbers
lost themselves in strange, dark warehouses transformed into disorientating warrens by walls of black
plastic sheeting. Inspired by this, Hawtin elected to take Techno one stage further and develop his virtual
Plastikman alter ego: a red and black gremlin that is tattooed on his forearm. He didn’t want a collection
of tracks; he wanted to make an album that swallowed up the concentrated energy of those parties and
spit it back out as something new. An album, “Sheet One” was recorded in a rollercoaster 48 hour studio
session and released on novamute in early ‘93 and was soon followed by the brilliant ‘Spastik’, a single
recorded three weeks later after a long night dancing to Derrick May.
 
Hawtin was already shifting identities like a spy changing roles: his 1992 album “Dimension Intrusion”,
under his Fuse alias, had played a key part in the Warp label’s groundbreaking “Artificial Intelligence”
armchair-Techno series, but he wanted to reach further. He remembered the strange shapes that his
friends threw at those warehouse parties, the different creatures they almost became. “Like plasticine,” he
says. “That was the whole idea of Plastikman, it was all very viscous and pliable and moveable.”
Plastikman wasn’t just a clever alter ego – it was a role for you to try on too. The sound was rubbery and
sparse; its moments of melodic steel arriving unnervingly. The first album, “Sheet One”, played up Hawtin’s
reputation for LSD and was promoted with a free sheet of fake acid tabs.
Hawtin developed a Plastikman live show that still tours the world. Huge audiences at Glastonbury and
Tribal Gathering twitched to its twittering insect rhythms, lost in a soundtrack far freakier than anything else
those events had to offer. In 1994 the second album on novamute, “Musik”, let a little human warmth seep
onto the clattering Plastikman rhythms, but despite its closing robot lullaby ‘Lasttrak’, it was, if anything,
even more discomforting
Just as the little Plastikman gremlin was becoming an international phenomenon, American immigration
officials banned Hawtin from entering America for working illegally. He was barred from entering the States
for 18 months. It was a devastating experience.
 
“My girlfriend lived there and most of my experiences were in Detroit, my friends were there and all of my
musical inspiration was there – and suddenly it was like, ‘See that building over there? You can see your
inspiration, but you can’t go there.’” Now, typically, he believes the ban had its benefits. It was at this point
the Chemicals Brothers and Underworld began to break out of the dance world and into a wider
Rock arena. Hawtin now wonders whether he might have gone further down the stadium Techno route.
Instead, grounded in Windsor, he went back to the studio to reinvent. “When that happened it was the
worst day of my life,” he says now, “and it was one of the best things too.”
 
The next Plastikman project, ‘Klinik’, wouldn’t come together. “I had tried to follow those records up but
there were feelings of pressure at that point,” he says now. Stuck in the studio, depressed, Hawtin set
himself a new challenge and gave it a deadline. He pressurised himself back into action, releasing a series
of ‘Concept’ EPs based on the months of the year. Each release would feature two tracks recorded in one
month only using a set template of sounds. They would be released and then forgotten. The discipline of
producing 24 tracks in 12 months rewired the creative circuits. “It progressed me to a different audience, it
progressed me with effects which came into my sets and it progressed me into more of this spatial
environment I was trying to get to,” says Hawtin.
 
It was the starting point for his last Plastikman album “Consumed”, which replaced the angry black and red
gremlin with dark, abstract sleeve art and the tense rhythms with swathes of bass and melody. Released
on novamute in 1998, it was acclaimed in countries like France – where conceptual artists are traditionally
celebrated. “Consumed” elevated Hawtin to a new status, he was now not just an international Techno
star, but a contemporary artist. Asked to contribute to a French Millennium Exhibition celebrating
different ideas of beauty, Hawtin created a musical installation based around the clicks, hisses and pops of
vinyl – a beautiful sound, he argued, to his generation. The exhibition also featured the work of world
famous sculptor, Anish Kapoor, who Hawtin had long been a fan. In fact “Consumed”’s unique textures
had been inspired by Kapoor’s beguiling, futuristic, curved shapes and the cover art echoed the sculptor’s
famous obelisk. “I was walking around those sculptures and putting my head into some of them. They had
like a sonic quality like chambers of nothingness – and that’s exactly what I was trying to hear. Suddenly I
was able to walk around a physical version of what I wanted to do musically.” Hawtin was also moved by
the mournful purple washes of the late Mark Rothko, which now hang in London’s Tate Modern.
Rothko’s work, says Hawtin, “is very, very subtle, just washes of texture. It kind of gave me a visual
perspective of what I was trying to get out of my head, sonically. On a flat surface.”
 
This is where Hawtin is at now. Constantly touring all over the world and keeping fans updated on his
world wide DJ travels via his website diaries; taking his dad out to dinner with John Peel (a big deal for
his Peel–fan father especially now his son is a huge favourite of the radio DJ); pushing himself to his
creative boundaries and taking Techno with him. Not just to the middle of the dancefloor, but also above it.
 
“The good Techno musicians enjoy having a good time, but can see beyond it,” Hawtin notes. “It’s the
closest to a contemporary art form.” With Jeff Mills providing an installation to the recent Sonar event in
Barcelona, Germany’s Thomas Brinkmann moving from conceptual art into conceptual Techno, and
increasing connections between the two worlds.
 
As Techno and art move closer together Hawtin sees it as a logical part of his constant reinvention. “It’s
about setting a standard for yourself and progressing yourself. Showing people you can do something
interesting that’s more than just dance music.” 

CONTACT INFORMATION
Label/Sales:  Rudy Delgado | rd@m-nus.com  tel. +49 30 405040 345
Press Contact: Meike Nolte | mn@m-nus.com tel. +49 30 405040 355
Tour/Booking: Katrin Schlotfeldt | katrin@clonk.com tel. +49 30 40056892

Special Thanks To Mrs Meike Nolte,Rudy Delgado & Richie Hawtin

Rod B. & Alvaro Garfunk bring you the Miami Underground Movement


Tomy De Clerque

A member of the new generation of Slovenian deejays, Tomy De Clerque grew up in an environment full of promising development in the sphere of electronic dance music. In front of his eyes the local scene has been turning into a globally acknowledged style of techno music in the hands of artists such as Umek and Valentino Kanzyani. A natural choice for a guy with talent and ambition was to jump the train – and Tommy DeClerque has road it ever since.
Performing as a deejay since he turned seventeen Tomy DeClerque soon realised that making his own production was essential if he wanted his carrier to really take off. He hooked up with his friend Zox to form the Tomy or Zox duo, and their hard work paid off as their My Desire single received some favourable feedback in Spain, Russia and Mexico. However, it was the Music Makes Me Happy hit single that caught the attention of top artists being remixed by the likes of Mainframe and ATCF, and released on several prestigious compilations, such as Ministry Of Sound, DJ Awards at Pacha Ibiza and Blanco Y Negro Mix. ‘The greatest satisfaction, though, – Tomy says – was when we got set as Essential new tune of the week on Pete Tong’s celebrated Essential selection radio show.’
After parting ways with Fox, Tomy felt that it was time to take a break from a demanding life of producer and performer, before he went on to start his solo career. Searching for genuine underground sound that could revive the authentic feeling of electronic dance music he experienced in his youth Tomy turned to Valentino Kanzyani’s Jesus Loved You label releasing a much praised I Don’t Know. Driven by his passion for teamwork, a lot of his studio work is done in collaboration with his friend F. Sonik. The duo’s first major success was winning VONYC remix competition with a remix of Valentino Kanzyani’s Nueva York, which is also a part of Carl Cox & friends at Space Ibiza 2008 compilation.
He started the 2009 with Umek's nomination as best producer of the 2008. But he is determined to accomplish even more. ‘You’ll hear a lot about me in the future,’ he promises.


Playlist:

1-Surrealistic Whale (Original Mix)
Edu Imbernon & Triumph
Suara

2-Mind Games (Tomy DeClerque RMX)
Jon Rundell
Teggno Records

3-Bounce Cherry (Alexx Iuliano RMX)
Mark Morris
Urbansound Records

4-Twister (Dandi & Ugo RMX)
Andrea Mattioli, Gabriel C
Stereo Seven Plus

5-Ho`z in this house (Tomy DeClerque RMX)
Ariel G
PROMO (Behold Recordings)

6-One 2.3 Four (Popof RMX)
Martin Solveig
Mixture

7-Unintended Maneuvre (Monica Kruse RMX)
Umek & Tomy DeClerque
PROMO (TerminalM)

8-Kung Fu Necktie
Lance Blaise & Rod B.
PROMO (Teggno Records)

9-Afrika (Tribal Mix)
D-Unity
Stereo Productions

10-Loky
Tomy DeClerque
PROMO (HellYeah)

11-Regenerations (Inside Out Remix)
Grunjah
PROMO (Vise Versa Music)

12-Pleasant noise (Original Mix)
Tomy DeClerque & F Sonik
Jesus Loved You

Special Thanks To Marian,Alex & Tomy

Rod B. & Alvaro Garfunk bring you the Miami Underground Movement



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Dance music afficiando Pete Heller is a 'one stop shop of kicking dance beats and modern soul music', and undoubtedly remains to be one of dance music¹s most influential producers and in demand DJs!
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the break
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1989, and Pete had the opportunity to became resident warm-up DJ to Danny Rampling at his legendary London house club, The Shoom Club. It was also at the Shoom Club where Pete met Terry Farley and together with Andy Weatherall, collaborated in his first co-production. The track, 'Raise' by Bocca Juniors, was released on the newly formed Boys Own Records label.Heller and Farley continued to work together remixing and producing for the likes of The Farm and Primal Scream. When the deal with London Records ended, both were instrumental in the formation of the independent Junior Boys Own label and continued to produce their own material under pseudonyms such as Fire Island, Roach Motel and Heller and Farley Project.
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the music
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Pete's impact on the world of dance music has been staggering. As part of 'Heller and Farley' , he has worked both as a remixer and producer, collaborating with artists as diverse as Kylie Minogue, Michael Jackson, Robert Owens, Janet Jackson, U2, Happy Mondays, Lisa Stansfield, aswell as producing the club classic 'Ultra Flava'.

As a individual he has achieved chart success with 'Big Love', and produced club dynamite with tracks such as 'Sputnik' and 'Big Room Drama'. His sought after studio wizardry has provided the opportunity to remix the likes of Faithless, Fatboy Slim, Daft Punk, Chemical Brothers, Moby, Jamiroquai, to name but a few from the glittering list.
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the mixes
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Pete's most recent and well received mix 'Dirty Grooves' was released on NRK Nightlife series.
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little known fact
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Any questions on quantum theory, Pete's your man! He has a degree in Physics from Manchester University.
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the label
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Pete has recently established his 'Phela Recordings' label. The labels has the unmistakeable Heller stamp to it with the recent relesase of Stylus Trouble¹s 'Stellar¹ finding flavour with the scenes biggest djs. With an arsenal of new tracks and Phela remixes the label is set to go from strength to strength in 2005.

Pete Heller – 1 Hour Promo Mix
1 Ultra Flava 2008 Mix1 Heller & Farley Project Defected
2 Lost in Acid - Ausfahrt Mix David Tort Joia
3 Reality Check - Vincenzo Remix Audio Soul Project Dessous
4 The Essence (Jesper Dahlback's DJ Tool 2) Berglund Featuring Krister Linder Soundz
5 Adrian - Jerome Sydenham Remix Shigeru Tanabu Wave
6 A EQD Equalized
7 Split Paul Ritch Quartz
8 Terminate Pig & Dan Cocoon
9 Timing Guy Gerber Cocoon
10 Sabotage New Mix Pete Heller Bedrock



Special Thanks to Mr Hugh B & Pete Heller