One of the by-products of hitting middle age is an often unwanted but seemingly inherent desire to look back. For some, this takes the form of powerful pangs of nostalgia for times past; for me, it’s been more about rediscovering my musical past (there’s a lot of it) and where my head was at DJ-wise at different points in time.

While I do have a good collection of fliers and posters from different parties and festivals I’ve promoted or played at over the last quarter of a century, I generally remember very little about the events in question – when you’re DJing week in, week out, as I did regularly until I took time out to write Join The Future, you tend to only remember gigs that are either really good, or comedically bad. Or you remember “moments” – brief snatches of events that stick in the memory for one reason or another (dropping Frontline Orchestra’s ‘Walking Into Sunshine’ at 6am at Barbarellas in Croatia, playing ‘Staring at the Sun’ by Wendy and Lisa as the sun rose at a free party in Wales, the first time I played the earliest Bedmo Disco edits at best before: in Bristol, getting a load of Italians dancing to sleazy Hi-NRG at Sameheads in Berlin, doing my first CD-only set in Sydney in 2008, that time an Austrian guy called me ‘the worst DJ in the World’ at a Red Bull event after party… and so on).

What inspired me to DJ in the first place, way back in early 1997, was not a desire to make people dance (that came later), but rather the potential mixing provided to create immersive soundscapes and new non-stop musical journeys. Yes, DJ mixes can be little more than promotional tools to get bookings, bump up interest in a party (or release), or keep an existing audience interested, but they also offer a platform for creativity and the ability to dive deep into a record collection (which, when you own upwards of 10,00 records, as I do, is helpful).

It’s impossible to say how many mixes I’ve recorded over the years, but it’s a lot. Some of these were commissioned, others were created for promo, and a fair few were inspired by an idea or conceptual theme. One or two were just spontaneous mix-ups in the record room that for one reason or another I decided to record (there are many more of these that I’ve never uploaded and probably never will).

What makes my personal DJ and mix history a bit more complicated is that I have used a number of aliases and been involved in several collectives. When I launched my first regular club night in Bristol in 2003, best before:, I decided to adopt the alias ‘Sell By Dave’ – a weak pun, but one that made sense when I appeared on fliers for other nights, where it would say ‘Sell By Dave (best before:)’. I was initially the only resident DJ, but soon it expanded to a crew that eventually included Puffin Jack (an early alias for Idle Hands and Devil’s Work founder Farrell), Richard Carnage, Legendary Tone, Andy Payback and The Kelly Twins. best before: was inspired by nights like Sheffield’s Lights Down Low and Manchester’s Electric Chair – events that focused on creating a vibe through great music with an element of soul (however you define that) rather than slavishly sticking to one or two styles. You can read more about best before:, and what I learned from my experiences, in this post from November 2023.

In 2007, I joined forces with my friend and former IDJ magazine colleague Oli Ackroyd (AKA FIve Stylez) to form Thumbs Aloft – initially to create a re-edits EP, Bedmo Disco Volume 1 on our own Pointless Edits imprint. Later that became Bedmo Disco Records and we took the name Bedmo Disco, adding Gareth Morgan AKA Awon to the crew. Bedmo Disco continues to this day, with myself and Gareth at the helm (Oli opted out some years ago but the door has always been left open for a return) – though the Sell By Dave alias has been retired for good.

In 2013, fired up by hearing then new and fresh leftfield music and quirky dancefloor jams that we dubbed “tropical pagan” (ever the music journalist etc), I founded another collective with Legendary Tone, Andy Payback and Spice Route: TR13E. It was self-consciously trippy and eccentric, involved wearing pagan robes at gigs (true), and included a stated desire to bring back chill out rooms. We wanted to avoid people thinking what we were doing was like best before: (it was a kind of oddball flip-side involving some of the same people), so took new DJ aliases, all of which were numbers (we even gave guest DJs their own TR13E number – so Max D, our first guest, was 13.5). For the record, I was 13.2 (the TR13AL Scribe), Andy was 13.1, Tone 13.3 (The TR13AL Elder) and Spice Route 13.4. It made sense at the time.

The same year, I was asked by The Kelly Twins, who by then had launched a record label called Happy Skull, to take on a “mystery alias” and create weird, off-kilter and dystopian mixes. The alias they chose was ANTI-FUN, which itself came from something genuinely said to me the year before by a friend-of-a-friend during Gareth Morgan’s stag do: “You know what you are? You’re Anti-Fun, the lover of hate, the hater of love.” From the start, I was forbidden from saying that I was ‘ANTI-FUN’ in public, and this is the first time I have admitted it. I have done so for two reasons. Firstly, long enough has passed for it not to be an issue (the most recent ANTI-FUN mix was recorded seven or eight years ago). Secondly, I’m really proud of the mixes I made as ANTI-FUN – they’re intense, exceptionally detailed (there’s a lot going on), and invariably contain a lot of edits and reworks of tracks made especially for the project. My favourite of the ANTI-FUN excursions is definitely ‘This Septic Isle’, an anguished howl of despair recorded in the days following the 2016 Brexit Referendum.

All of these different aliases and projects allowed me to pursue different avenues musically and sonically, not only showcasing different sides of my musical interests (which can be heard in the mixes showcased later in this article) but also different dusty corners of my 10,000 strong record collection. While this might not be all that smart from a profile and promotion point of view, it did at least allow me to scratch different itches and play different kinds of sets in public. If very few people are aware of this – and let’s face it, why should they be? – then I only have myself to blame.

The first mix I recorded, onto a cassette way back in 1998, was terrible. One side contained a passable blend of downtempo fare (and random bits of speech from the TV, which I inserted live by connecting a television set to the mixer), and the other a dreadfully mixed set of dancefloor friendly tracks that didn’t sit together. I lost the tape years ago, but still have a copy of my second mix – a much better collection of chill-out type fare I preposterously called ‘Downtempo Classics’. That’s not online – one day I’ll digitise it for posterity, though.

Since the late 2000s and the advent of streaming audio sites Soundcloud and Mixcloud, well over 50 mixes of mine (and possibly more) have ended up online. Recently I decided to see what is still out there. Below you’ll find some of these, presented in chronological order. The first dates from 2009 and the most recent from a few weeks ago. I’ve added a little write up for each containing context, reflections and – most importantly for those looking to dig in – an indication of the blend of sounds on offer. Some are musical meditations on a theme or conceptual ‘journeys’ (sorry), some are recordings of me (and sometimes others) ‘in the club’, and others reflect some of what I was playing ‘out and about’ at different points in time.

I hope there’s one or two mixes in there that tickle your fancy. I’ve not retired from DJing (and never did) and am always open to playing out (whether on my own, or with regular DJ buddies Gareth ‘Awon’ Morgan and/or Legendary Tone), so feel free to drop me a line if you have an idea or event to discuss.

Anyway, without further ado here it is – a life in mixes (so far).

BEDMO DISCO SOUNDSYSTEM: NORTH STREET SOUND (2009)

The Bedmo Disco Soundsystem was a short-lived early offshoot of Thumbs Aloft, with Five-Stylez and myself accompanied by host (and UK hip-hop underground mainstay) Coherent on the mic. To drum up more gigs (we’d already done a handful), we decided to record a mix. North Street Sound was the only mix we did as Bedmo Disco Soundsystem, in part because it took forever to complete. It’s quite excitable, joining the dots between hip-hop, funk breaks, disco, boogie, hip-house and party bangers. It not only features bars and hype from Coherent (and the sole Bedmo Disco Soundsystem track we made, ‘Straight Outta Bedmo’), but also shout outs from the most Bristolian man in the world, Spencer Mizen. As he says during the mix, “there ain’t no party like a Bedmo party!”

TRICKY DISCOMIX: SUNSHINE LOVE (2009)

Dating from the time when I was promoting the Tricky Disco parties with Nick Harris (AKA A Sagitarriun) and Chris Rees (AKA Christophe), this originally appeared on an old blog of mine and was re-uploaded a few years ago after I rediscovered it on my hard drive. In the computer it was called ‘the lovers mix’, meaning I probably created it for my partner of the time (though I may have just been feeling a bit loved-up). It’s downtempo, Balearic, warm, lovely and full of bona fide head-nodders – similar in style and tone to what I was playing early in my DJ journey in the late ’90s and very early 2000s.

THE MASQUE OF THE RED DEATH (RE-TOLD) (2010)

In the autumn of 2010, Bristol DJs October and Chris Farrell asked me if I wanted to create a new soundtrack for a film of my choosing, DJ style, in the backroom at Timbuk2. I loved the idea and decided to soundtrack the 1960s version of Edgar Allan Poe story The Masque of the Red Death, starring horror legend Vincent Price. I put an insane amount of work into it, editing tracks to length, trying to match the music with what was on screen, and sampling up bits of dialogue from the film to insert at key points. This recorded version was then edited so that it ‘fits’ the film. Press play on the DVD after the introduction and it should all match (I tried this at the time and it did, but naturally haven’t since). It’s enjoyably weird, but that’s the point.

BASS-MENT JACKS (BLEEP HISTORY MIX FOR HIVEMIND FM) (2010)

A significant mix, this one, as it marks the start of what became Join The Future. I’ve told this story before (sorry), but just to recap: while out DJing at Timbuk2 in Bristol, some young bass music DJs asked me about a track I was playing and what style it was. I told them it was “bleep techno or bleep and bass”. They said, “what’s that?” I explained that it was, in my opinion, the original form of UK bass. “But that’s wrong, hardcore came first,” they replied. A light-hearted argument ensued and after 20 minutes or so, they asked if I would write an article expressing my opinion and do a mix of bleep tracks for their online radio station, Hivemind FM. So I did… and the rest is history. `The mix itself is heavy on well-known bleep classics, but also contains some then-contemporary UK bass and 140 cuts.

LIVE AT DIRTYTALK (2011)

In the days when Timbuk2 was open here in Bristol, I used to play there regularly – not just at best before: parties, but also other events. One of the latter was a then-new monthly night called Dirtytalk. Since then, that crew has put on some of the greatest parties Bristol has seen and opened community arts space Strange Brew. Anyway, they asked me to warm up for the mighty Maurice Fulton at one of their earliest events and the venue recorded my set. Proper dancefloor action – think disco (old and new), deep house, broken beat, acid house, proto-house, nu-disco, Italo-disco, Hi-NRG, hip-house and more. After the event, before it went online, I made one minor edit – removing four minutes of one drum loop, a by-product of my Serato software going a bit crazy in the club – but everything else is ‘as was’, warts and all (incidentally, this kind of incident is why I eventually ditched Serato).

BEDMO DISCO EXCLUSIVE MIX FOR BIG CHILL BRISTOL (2011)

This is one that I had genuinely forgotten about. It dates from the height of Bedmo Disco’s residency at Big Chill Bristol, when the project was a vehicle for myself and Oli (Gareth joined later the same year) to showcase our party-starting instincts. So this mix is Oli and myself in the mix. The first 30 minutes or so were laid down by Oli (hence the presence of rather good scratching – I can only do a very basic baby scratch), then I jumped on to finish things off. It’s a typically action-packed affair featuring tons of cuts we reached for a lot during this period of the Bedmo Disco story.

END OF THE DIAL (BALEARIC SOCIAL RADIO GUEST MIX) (2011)

When I was asked to provide a mix for the weekly Balearic Social radio show, I decided to use radio – and specifically the joys of moving the dial on long-range and short-range radio sets – as a theme (thus allowing me to be truly ‘Balearic’ and go in many different directions). It contains a lot of re-edits and versions I did with the mix in mind, plus others I’d made and was playing at the time (but never bothered releasing). Oh, and ‘the shipping forecast in Norwegian’The Sun Has Got His Hat On’ in Japanese.

SEIBUYDAU VOLUME 1 (2011)

During the formative years of the last decade, I had a few DJ residencies. One was at UFO, a monthly night at Dojo in Bristol started by The Kelly Twins. This mix was meant to be reflective of some of the music I played there at the time. House of different sorts, broken beat, low-slung dub disco, bleep and drum tracks of different sorts can all be heard in the mix.

SLO-MO BEDMO (2011)

Around the dawn of the last decade, I played quite a lot of slow house jams, nu-disco chuggers, low-tempo edits and Balearic bubblers – especially in warm-ups. This mix is reflective of that and contains a load of tracks I frequently ‘played out’ It originally appeared just before our now unavailable It’s a Synth edits EP – which boasted one of the earliest cover illustrations from the now massive and much-loved Victoria Topping – landed on digital download stores.

BEDMOCAST: DUB IT! (2012)

This is one of my all-time favourites. I’ve long been a wee bit obsessed by dancefloor dubs, especially those created with early-to-mid-80s dancefloors in mind – think boogie, freestyle, proto-house and Italo-disco – so in 2012 decided to record a mix of “synth dubs and instrumentals, 1980-2012” for our ‘BedmoCast’ mix series. It was music like this that inspired the sound of our recent (and soon to be released) remix of Zenana’s 1985 home recording of their cult classic ‘Witches’ (you can find out more about them, and the remix’s forthcoming Rush Hour release, here).

WRONGSPEED 01 (2012)

In early 2012 someone (I can’t remember who) asked me to do a club set entirely of records played at the wrong speed. In typical fashion, I took this quite seriously, and after the event recorded this mix based on the set. Everything in it was dramatically pitched down or up and as a result it’s pretty trippy. Chuggers and mind-manglers, with some smacked out dub disco and ambient techno thrown in.

SELL BY DAVE ALSO PLAYS HOUSE (2012)

A true assertion! This was inspired by my frustration that I was becoming a bit too well known for playing disco and boogie, and had loads of other great music I wanted to share with dancefloors. It features a mix of leftfield house, drum tracks, personal re-edits, punk-funk, tech-house, Italo-house and more.

THE SOUND OF best before: MIX TRILOGY (2013)

On the occasion of the tenth birthday of best before:, I recorded a trio of mixes which tried to encapsulate our vibe. The first mix is an “old school warm up set” (so downtempo, hip-hop, chuggers, low-tempo gems and so on); the second takes us ‘back to the basement’ for some peak-time club flavours (disco, house, acid, breaks, broken beat and so on); and the third is titled ‘down the boozer’ and offers a flavour of the freewheeling sessions we did at the Bank Tavern – now famous for having the longest waiting list in the UK for Sunday roasts! It’s the second of the three mixes that I think is the strongest and think of most fondly.

TR13E: LESSON 13 (2013)

Six months before best before: celebrated its tenth birthday, TR13E was founded. We launched with a party headlined by Max D (his first appearance in Bristol) and two mixes: the wonderfully titled ‘Voyage 13’ by 13.3 (Legendary Tone), and this one – ‘Lesson 13’ – by yours truly. It features tracks by the likes of Suzanne Ciani, Steve Summers, Hyetal, Legowelt, Roberto Auser, Gene Hunt and Secret Circuit.

best before: AT THE PLOUGH, EASTON (2014)

A rare recording of the entire best before: crew in action – that’s me, Legendary Tone, Chris Farrell, Richard Carnes, Andy Payback and the Kelly Twins – on the occasion of the latter’s 30^th birthday. Recorded live (both from the mixer and via external mics) at a packed, sweaty and riotous party at the Plough – one of Bristol’s most beloved pubs-come-late-night-venues – it captures the anything goes, party-focused best before: ethos to a tee. What you hear is the last 2 hours 40 minutes of the party, minus a hilariously drunken ‘happy birthday’ singalong at the end.There’s all sorts in the mix (electrofunk, hip-hop, disco, freestyle, R&B, deep house, acid, early D&B, broken beat, garage, synth-pop etc), all accompanied by whoops, cheers, roars and the excited chatter of the crowd. A moment in time captured for posterity. It sounds as fun as it was!

BRISTOL SPOTLIGHT: ANTI-FUN (2014)

This was the first Anti-Fun mix I did, for the Stamp The Wax website. Meant as a way of introducing the project, it was accompanied by an interview (conducted via the Kelly Twins so I could keep the secret) where I explained the idea behind it: “It’s a simple thing really: no preconceptions. Myself and the Kelly Twins wanted people to listen to the music – via this mix and my appearance at the Happy Skull party at Cosies – and make up their minds on that.”

Musically, like the Anti-Fun project at large, the mix has a distinctive vibe – clandestine, occasionally unsettling, adventurous, experimental and occasionally dystopian, with tons of percussion. Listen out for a few Anti-Fun versions and even a track created using bits of other cuts and some suitably deranged noises.

TR13E: 15.3 – DREAM WORLD (2015)

At some point in early 2015, the people behind revivalist rave night Sweet Sensation asked the TR13E to host a chill-out room at their next event. We decided to call the chill out room the ‘Dream World’. To promote our appearance, and to give people an idea what that actually meant, I recorded this mix – as 13.2, of course. Again, it contains tons of ‘TR13E adjustments’ – radically altered, ambient house style revisions made by yours truly – and liberal use of the contents of my SP-404 portable sampler.

BEDMOCAST 2015.5: RECORDED LIVE AT BLUE MOUNTAIN (2015)

This is one was a recent rediscovery. It’s a lot of fun. It’s a recording of a set I did in May 2015 as part of the annual Rave on Avon event, upstairs at the now gone (but legendary) Blue Mountain club in Bristol. I was representing Bedmo Disco (presumably Oli and Gareth were unavailable to join me) and moved through Balearic bits, party jams, nu-disco, Roisin Murphy records, disco edits, Bedmo Disco material, disco-house, dub disco, Italo-disco and, for some reason, the original 1988 version of the KLF’s ‘What Time is Love’! Well, it is a banger.

BEDMO DISCO: CRUCIAL BEATS (2016)

Recorded to promote an appearance at the Bump Rollerdisco on London’s Southbank in late 2016, this is myself (as Sell By Dave) and Gareth Morgan (Awon) in the mix in his front room, one Friday night. I can’t remember whether it was back to back in a two-on, two-off style, or whether we took in turns every 15 or 20 minutes or so, but I can tell you that it contains loads of Bedmo Disco re-edits and unreleased tunes Gareth has made at various points over the years. For the record the track listing on Mixcloud is wrong – many of the ‘unknown’ gaps were (I think) unreleased bits, while the King track mentioned is in fact Gareth’s near-legendary ‘Dub and Pride’ edit.

TR13E: NEVER ON A SUNDAY – MUSIC FOR THE BREAK OF DAWN AND BEYOND (2016)

In 2016 myself and Tone approached the Dirtytalk crew with an idea: we’d run a TR13E style after-party, to start after their event (with Gilb’r and Jan Schulte) finished at 6am, and go on until 10am. But this would be no average after-party: it would start loved-up and dancefloor-friendly, but get increasingly slower and more spaced-out as it went along. We called the event ‘Never on a Sunday’ – in honour of the famous quote from the Wire (“Sunday truce has been around as long as the game itself. You can be like, hey, and do some shit… but never on no Sunday”) – and I recorded this mix to promote it. It’s wide-eyed and wavy, then gets progressively more out-there – with a few musical diversions along the way.

ANTI-FUN: THE ‘SHINE A LIGHT ON’ RANSOM NOTE MIX (2016)

Two years after the first aural Anti-Fun missive, I did another on the request of Sean and Dan Kelly, this time for the Ransom Note, who genuinely had no idea who Anti-Fun was. This mix is not quite as intoxicating and trippy as the first, but still features various specially made collages, blends and interludes as well as weirdo ambient, acid, percussion-powered insanity, techno, bass-heavy insanity and so on.

ANTI-FUN: THIS SEPTIC ISLE (2016)

Most of the Anti-Fun mixes were conceptual in some way (especially those I did for Giz’s Berceuse Heroique label), but none topped the Brexit referendum-inspired ‘This Septic Isle’. I channelled a lot of energy, rage and fury into this one, but also tried to make it playful in a kind of ‘end of days’ way. It was not done like a traditional mix, but rather pieced together in the computer over a very intense few days. It contains a very high level of spoken word samples, a social commentary style narrative, and lots of rather unsettling music – with the odd shaft of light. It got a lot of love at the time, with plenty of online speculation about the identity of the shadowy ‘Anti-Fun’ (for the record, nobody guessed correctly).

AMBIENT HOUSE: CHILL OUT HISTORY MIX FOR RBMA RADIO (2016)

Some of you may have heard this. I recorded it to accompany an epic history of ‘ambient house and the chill-out movement’ I wrote for RBMA, which was later republished on this very site. The mix was designed to reflect this history, with the overall sound being inspired by the trippy soundscapes the Orb and friends used to create in the VIP room at heaven back in 1989. Listen out for spoken word samples from Steve Hillage, Brian Eno and others.

best before: PRESENTS ‘DANS SOM OM DU MENER DET’ (2017)

Another best before:-related excursion, recorded to promote a screening of the Northern Disco Lights documentary (which I briefly appear in) about Norwegian dance music culture, and an after-party with long-serving Norse hero Mental Overdrive. The mix is entirely made up of tracks made, remixed or re-edited by Norwegian artists. Just don’t call it “Scandolearic”.

TR13E: 74-MINUTE WARNING (2017)

This was originally intended to be an ANTI-FUN excursion, but in the end was pushed out via the TR13E channels. For a brief period I was quite obsessed with the idea of a looming nuclear armageddon (Putin was making noise as usual and Trump had just been elected), so I created a mix – complete with speech samnples, dialogue from legendary Cold War-era TV dramas and documnentaries, and snatches if public information films – that meditated on this potential scenario. Like the ‘Septic Isle’ mix showcased earlier, it was put together in the computer and was a lot of work.

ADVENTURES BEYOND THE OTHERWORLD – TRIP ONE (2017)

Further adventures in ambient house and chill-out room insanity, inspired by the events and radio show I did alongside the other members of the TR13E collective. This features an absolute boat-load of ‘TR13E Adjustments’. One or two of made their way into my Sunday morning set at Watching Trees 2024, but plenty didn’t as I lost a load during a hard drive failure five years ago.

JOIN THE FUTURE: MIX 01 (2018)

When I announced the Join The Future project in the summer of 2018 (way before I’d actually finished the book or found a publisher for it), I recorded this mix to celebrate bleep & bass and some of the later styles and sub-genres it influenced. It was named by Chal Ravens as one of FACT’s mixes of the month. More info and tracklisting available via this blog post from my other website.

JOIN THE FUTURE: MIX 02 (2020)

A belated follow-up to the above mix, from the summer of 2020. It was originally recorded for Bristol scene stalwart George-Oscar Winstanley’s 1020 Radio show, but I decided to stick it up separately. Once again, it boasts loads of vintage bleep & bass and bleep & breaks, including some of the countless ‘Join The Future Edits’ I’ve done, as well as a few newer bits in the same style. More info here.

AROUND ORKNEY (2021)

Following a wonderful week-long adventure in Orkney, which included visiting countless historic sites and a day trip to one of the more distant outlying islands within the archipelago, I decided to record an immersive mix. It features lots of music made on Orkney, or inspired by it, plus other records that fit, field recordings (some if which I recorded during the trip), and spoken word samples. It is structured as if it provides a journey across mainland and beyond, starting with the ferry to Strommess, and taking in Kirkwall, the ring of Brodgar, the neolithic village of Skara Brae and the Isle of Westray, ending beside Noup Head lighthouse. This mix is another favourite of mine and a great example (I think, but I would say that) of a genuine musical journey with a distinctive start, middle and end.

INNATE RADIO SESSIONS 05 (2022)

During the days of 1020 Radio in Bristol, the Innate website and record label – run by my good friend and former housemate Owain K – had a monthly show. Each episode took the form of a two-hour mix from a ‘secret guest’. This one, from 2022, was my contribution – a heady and evolving mix of ambient, IDM, electro, bleep, acid, techno and much more besides.

BLEEP.COM MIX #257 (2023)

It was a massive honour to do this mix for Bleep.com (commissioned to mark the publication of the ‘Expanded and Updated’ edition of Join The Future) and I’m very proud of it. You can find out more about it via this post. It is of course rooted in bleep & bass but includes some hardcore, garage, and more recent material in a similar vibe.

THE REDFIELD SESSIONS, VOL 1: BRINGING OUT THE SUNSHINE (2023)

Last summer, during a particularly warm and sunny spell, I spent a lot of time in my back yard container garden, soaking up the rays and tending to the various greenery I’d planted earlier in the year. This inspired me to lay down a two-hour mix of “late afternoon sitting in the yard” favourites – think lovers rock, nu-jazz, future soul, Balearic bits and dusty records from the forgotten corners of the collection.

MADE IN YORKSHIRE (LIVE AT THE DC23 AFTERPARTY) (2023)

A recording of me “in the club”, whipping through tons of weighty, energetic, Yorkshire-related dancefloor heat at the after-party for the DC23 academic conference. A genuinely thrill-a-minute excursion that jumps between bleep, breaks, acid, dub house, bassline, garage, revivalist breakbeat hardcore and lots more.

DEVIL’S WORK ON SWU.FM (2024)

Chris Farrell asked me to do a guest mix on his Devil’s Work show on the Rinse.fm-owned SWU.FM, directing me to play “all those records you keep telling me you want to play in clubs but haven’t had a chance to play yet”. Then, on the day of the show, he was quite ill and I ended up hosting and mixing all two hours. Although a radio show, there’s very little actual chat – just music, mixed, with plenty of bass-weight and energy (house, breaks, bleep, techno, UK bass and so on). And, yes, it contains Danny Tenaglia-related records (this is no bad thing – he has made some absolute belters over the years).

WATCHING MORNING (AT WATCHING TREES) (2024)

My most recent mix, which was recorded following – and inspired by – my Sunday morning ambient and downtempo set at Watching Trees 2024. You can read my review of that event, and find out a bit more about the mix, here.