I was DJing and running sound systems at this time too, and I had already started to make records. I started producing some tracks for this project. I was stupid enough to actually release them. I was just this naive, optimistic, naive, idealist. I didn't understand that there was a power structure that would just destroy you.
It was a book with a lot of great stories, and I just loved the cover. Its like a message from the future, really. The future promises ecstasy and freedom, but its not like that. I was reading this at the same time as the Thatcher years were taking over the UK. I was living in Australia at the time, so my perspective of that is very different. I thought, this book is like an utopian view of the future. It was just so full of optimism.
The original releases of these beats used a sampler entitled the Monark, the EP version of which were already released on the Bleep compilation (in the same year as the Criminal Justice and Public Order Act 1994). The Monark could play the samples and its beat format was largely unchanged from that of the original Electroclash releases, but new sounds could be loaded into its memory via cassette tape or a memory card. The Bleep album Monark was an amalgamation of high-pitched sounds which when played were considered to be within the noise floor of the Monark. The opening track, Aurecantius, contains a portion that simulates a police siren and is the opening statement that the act makes. It opens with the sound of police sirens - before a terrifying burst of deep, bass-heavy noise. It is similar to the way that Gutter Ballet used a similar sonic assault to break down a mood in The Relapse, and has been seen as an example of the most aggressive Electroclash release (see here ).
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One of the drawbacks to this approach was that we needed to recompile every time we made even a small change to the code. This slowed everything else we were doing down and because we couldn't always have someone waiting for the application to finish building. 827ec27edc