Jan 18, 2012

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Coming at you for our seventh podcast, via way of Chicago, San Francisco, Florida or wherever he may rest his head, is Amir Alexander.

With a little over an hour of deep bangers, acid, soul and grit, it should come as no surprise that Amir has found a comfortable and inspiring home at New York's Plan B Recordings' stable presided over by DJ Spider and Dakini9. Though with nearly twenty years experience behind the decks and over ten as a producer, Amir has also been branching out personally for some time and this week saw the first release on his and Chris Mitchell's own imprint, Vanguard Sound – all tracks of which feature prominently in this hard hitting mix.

We caught up with Amir for an extended chat and were astounded by what we learned. Painting a detailed picture of his life and the world surrounding him, in conjunction with how he sonically presents his tracks both in the studio and at the club, we have come to understand the acutely aware and dedicated artist that Amir truly is – yet it still feels like we have only just begun to scratch the surface.

So please take the time to read Amir's words and hear his sounds as we have little doubt that his name is one to watch, both for now and for years to come.


Straight up – this week must be pretty momentous for you and also Chris Mitchell, as it has seen the first release of your label Vanguard SoundVanguard Sound Vol. 3. The previous two volumes have been released on Hakim Murphy's Machining Dreams and DJ Spider & Lola's (Dakini9) Plan B imprint, all of whom have contributed to the releases with G. Marcell rounding out this fast emerging crew.

Can you tell us how said crew has come together and elaborate on why you have chosen to introduce Vanguard Sound via this method?

It was a very organic process.......

Having been an adolescent in the early 80's, I was a big fan of Hip Hop and B- Boy Culture. Every neighborhood had it's crew. We would all come together at Booker Park and Break (dance) on our cardboard. We loved Rock Steady and the New York Breakers, and wanted to emulate them. I was very young at the time. Maybe ten years old.

Later as I became interested in creating music, I would audition and be accepted to All-State Honor Band. Being surrounded by so many brilliant young artists who were the top musicians at their respective schools left an indelible impression on me. I returned home a better musician than I was when I arrived. Looking back, I now see that that was the whole point.

Those two elements are probably the bedrock of the whole idea.

I feel that the artist's collective is a strong breeding ground for nurturing a culture of of unrestricted growth and freedom of expression. As contemporaries, we see each other's struggle(s). In this very tricky, mirage like industry, it behooves one to seek alliances.

Chris and I first met in 1997 I believe, perhaps late 96. We were part of a small group of DJ's who played House and Techno in a place where Progressive, Breaks, and Trance were the dominant sounds. We clicked instantly. About a week after we met, Chris had found us a weekly gig at a place called the Z-Spot in Ybor City Tampa. From day one, he was a selfless friend. He could have kept the gig all to himself and had more money, but he didn't. I always remembered that.

We began to create a little buzz as a very aloof, off kilter fearless DJ. duo. Some young upstarts upsetting the natural order. One night in the winter of 97/98 we were booked to play back to back all night at a local house music midweek party. We had a great night, but it was cut short because the resident felt like we were "blowing up his spot" so to speak. It was getting too hot in there and he had to tone it down. He rolled up into the DJ. booth and said that he was taking over. At least the people were on our side. The crowd was like "hey, they're killing it! What are you doing?"

That was the third element.

Chris and I began to develop a revolutionary mind state. We decided to wage war on all sucka DJ's, and or anyone who was an obstructionist. The whole idea of trying to monopolize the scene seemed so absurd to us. That night the seed for what would become Vanguard Sound was planted.

It would take another eight years for Vanguard Sound to go from an idea to something with a name. During those eight years I moved all around the country and was blessed to witness many "scenes". Seeing the Wicked Crew do their thing was life changing. Those kids made history out in San Francisco.

I was so moved by the fact that they pushed each other to extend their boundaries and explore that special place you reach when you can just let go and work it out.

One dope DJ. is cool, but a whole Crew? It was like a team full of Michael Jordans.

I left San Fran wanting to carry on that tradition. By the time I left the hey days of the Full Moon party era were long gone. I felt ready to assemble a crew that could inspire the next generation like Wicked inspired me.

I met G. Marcell because the Universe brought us together. In October of 2006, we were both featured in Czarina Mirani's 5 Magizine. The best house music magazine in Chicago. They have a feature called DJ. watch in which they interview up and comers making waves in the Chicago Club scene. I had started Vanguard Sound officially earlier that year. Which at the time was just a website with my mixes, and history of the culture. Like my music at the time, it was very raw. G had released the first twelve inch on his label Bearatonerecordings. Those things are probably two of the main reasons we got the feature if I had to guess. About a month passed, and I was record shopping in Gramaphone one day when I see that guy G. Marcell's record. I took it off the wall to check out and was like "Yo! This dude's record is crazy." I was an instant fan. A few weeks later I met him at a party the night before our Thanksgiving holiday 2006. Farley Jackmaster Funk was playing at the Note with Gene Hunt I think. G. and I hit it off right away. We became friends pretty quickly.

G. is the person who introduced me to Hakim Murphy. Hakim called me out of the blue one day and we talked for about 2 hours. Once again, perfect chemistry from square one.

As Hakim and I began to get to know each other, I was struck by the differences between his sound and almost everyone else in Chicago. In him I found a musical kindred spirit. I felt like he was advancing the Chicago sound instead of trying to rehash it. I also liked the fact that he was as comfortable with techno as he was with house.

The final chapter is as organic as it gets. I sent some tracks to a label I discovered on Soundcloud. I heard their music, and felt like I would be a perfect fit. I was very attracted to their use of atmospheric space. I also felt that based on some of the lyrical content in their tracks that we were probably coming from the same place. This label was Plan B Recordings NYC.

I sent them tracks one day, and they replied the next. It was almost cosmic the way that all our our energies melded. Within a couple months of knowing them, I felt as though the crew was complete. This was yet another time where we hit it off like we had shared past lives and were just reuniting in this lifetime.

The crew is now locked at six members. We had a couple growing pains along the way with a few other people before the group naturally coalesced into what we have today. In the end, we all came to realize that what we have is very organic and uncontrived. Something pure that should be valued for the rare thing it is.

The idea to introduce Vanguard Sound the way we did was originated by Hakim Murphy. He called me one day and said since you're starting a label next year, we should do some various artist compilation records with the crew members on them and call them Vanguard Sound volume one, two etc. By three or four, you'll be ready to start your label, and by then, people will be familiar with our Crew.

Absolutely Brilliant! He's a visionary.


You made a successful though temporary move to Chicago around 2004 where you received a lot of attention for some of your DJ sets. What is it that you try to bring to the table each time you step to it? When I saw you play at the Plan B loft party in Brooklyn you went all out and it was a great night; you've been spinning records for some time now, so did you judge the atmosphere of the night to be suited to that type of vibe or were you always just going to go ahead and do your thing?

Yeah, I'm back and forth between Chicago and Florida. I have family in both states. I basically had to infiltrate Chicago from the outside. It's too hard to get booked. So I decided to take some time to get my weight up by putting out some great records and doing what it took to be in a position to get the attention of people such as yourself. The way to do that was to cut my costs to the bone and live somewhere for dirt cheap. It made perfect sense to take a year to go visit the family down south and do nothing but make tracks. I live in total isolation and never go out. The gig you saw me perform was the first time I had played out since around June 2007. It's boring for some, but it keeps me focused. All I do is make tracks, and or further the pursuits of the crew.

I judged the atmosphere of the night to be one of dancers and dancing, and I myself worked up a little sweat before I hit the decks getting my swerve on. Being that I was the headliner, I wanted to give the people their money's worth. When you come to hear me play, you're coming to experience something rare and unique. Something that only I bring. As it should be. We as disc jocks should all strive to be individuals, you know. As I said before, I knew that I would be playing the main slot, so I packed my bag accordingly. When you're flying with wax you have to bring things to work in many different scenarios, but I always like to keep it raw and gritty. I am in the proletariat class, my life is a struggle, and my art reflects that. That is my thing. So in essence, I always do my thing. That being said, my thing has many facets. I love house and techno equally, so my sets reflect that. I tried to come with the whole array. Peaks and valleys. On that night, I decided to start with a peak first and then descend into the depths. Like a roller coaster. Go up, then go down so that you can go way up. Chicago is a lot more up front than New York, which was more laid back. I definitely packed a Chicago bag. It took a couple records to really tune into the vibe, but I felt like people were into it after a few tracks. The first couple might have felt like a shock and awe attack. It probably was. LOL!


You dropped out of the Chicago scene quite suddenly to focus on the production side of things. Can you tell us a little about this decision and why you felt the need to do something seemingly so drastic? Though the results do speak for themselves, your track from 2009, "Necessary Sanctuary", on G. Marcell’s Bearatonerecordings has a decidedly unique sound and they have only been growing in this sense since. What is your production process like currently? What is your balance between digital and analogue techniques?

Chicago is a very competitive place for DJ's. Things are sometimes needlessly difficult. Being a skilled DJ. can work against you when you're not connected. I come from a culture of unity and cooperative effort. Those things were not welcomed. It's a very every man for himself culture. That is why things tend to stagnate. People call Chicago the city of haters. They are not lying.

I have been an artist and musician since 1985. I create regardless. I was not about to let a bunch of negative people with lesser talent/ability dictate to me the terms of my music career. No way. I felt like that if being a really good DJ. couldn't get me booked, then I would not pursue bookings. I was a music major in college, and had been writing music since the 7th grade. I'll just become a better producer. Whether or not I played out was unimportant at the time. I just had to do what it took to become as good of a Producer as I was as DJ.

I isolated myself from all outside influences and to use a jazz term, I went to the wood shed. Which means practiced my ass off, and slowly began to become highly proficient in my craft.

I was really forced to do something that drastic. I always believed in myself, and knew what it was I had to contribute. No one wanted to work with me really. Some individuals wanted to profit from my hard work while throwing out crumbs, but I felt that I was better than that. Since I have always been an outsider, it wasn't hard for me to drop out of the scene since I was always viewed as a fringe oddity. I knew that no one would miss me.

You know.... the Sanctuary record was released in 2008. December 2008, but 2008 nonetheless. The track was written in early 2008. March I think. It took a while to master and cut etc. Then it finally came out. Since no one had ever heard of us, the record kind of just disappeared for a while. Little did we know, people were charting it, and even playing it at Berghain. It took two years to find out that it was a bit of a cult classic. We didn't even break even with that one, but the experience was priceless. That's funny, it is called the experience ep.

Those tracks were made on the worst computer you ever saw. A 1996 PC with only 528 meg of ram. It came with a 6 gig hard drive. It was my main piece of gear until late 2009. Working on that thing was so frustrating.

I specialize in taking the most minimal set up and getting the maximum results.

My production technique is to use my ears. I know what I want things to sound like, so I work until I get the results I want. I basically just will the sound I want into being. My setup is still very bare bones. It's not the gear, it's about who's using it, and what they bring to the table as far as talent, ability, and fresh ideas.

I started back in 98 in a strictly analog studio, so that sound is the sound I have burned in my subconsciousness. My studio today is very modest. I have a few pieces of analog gear, my Roland piano for composing, a new quad core PC and my midi controller. Nothing special. My balance is to use whatever I can get my hands on if it compliments the project.


Hakim Murphy lists you as his mastering guy, how long have you been doing this and do you do the mastering for many other artists?

I have been mastering for a little more than 5 years now. I enjoy it....... I feel like I really only hit my stride just recently, as I just stepped up my monitoring situation, and I have some better equipment to work with. I mostly focus on pre mastering for Hakim and myself right now. Occasionally I'll do a few tracks for G. Marcell. I have done full digital mastering before, but since I'm a vinyl jock, the need for digital mastering isn't very great in my camp right now. At the moment, I'm just concerned with getting better at my craft. Perhaps one day when my skills are more advanced, and people actually know who I am, I may hire out my services to others. Even though I constantly get compliments on my sound, I know I still have more to learn. I trust myself with my music, and Hakim trusts me with his. That really means a lot to me. Just think, I am the last person to touch his tracks before they go to get pressed. He trusts me with his sound. To a dedicated artist, that's like trusting me with his life. I don't take the responsibility lightly.


I am interested to know what you think of the role technology plays in connecting our little worlds – you and I hooked up after I caught you at that Plan B party, though it wasn't until I reached out via Soundcloud that we made the connection. Similarly the Vanguard crew spans three cities and in an interview with Hakim Murphy you point out how much you have moved around both in childhood and also in your later years though now have settled again in the relatively obscure location of somewhere in Florida!

How much importance do you attribute to these connecting facilities and how do you feel about their seeming propensity to be doing both good and bad simultaneously?

Yeah, we are pretty spread out geographically, I guess. Spider and Lola are in the Greater NYC region. G. Marcell and Hakim Murphy are in Chicago land, and Chris and I live on opposite coasts of Florida. As I mentioned before, I needed to cut my costs so that I had more time to dedicate to music.

I was a music education/jazz composition student my first time around in college. I was there on a full music scholarship, but it only paid for classes and books. I was starving with no transportation. I knew that I would eventually drop out because I had no family support. Before I did, I took two years of nothing but music classes. No math, English, or Humanities. Just music. Theory one and two. Class piano. Private lessons on Upright Bass. Jazz improvisational theory classes. Symphonic Band. Jazz Band. Sight singing. I was fully immersed in that culture.

Over ten years later, I went back to school and got an automotive degree. I met four of the five other crew members while I was working 50 hour weeks as an automotive technician (Mechanic) at the busiest Firestone automotive shop in the whole Midwest. The 5th busiest in the Country. 10 hour work days. 2 hours traveling in the summer, and sometimes up to 4 in the winter meant the only time I could work on tracks was when everyone else was asleep. My Lady Mel went to sleep many nights with me in our closet working on tracks til the sun came up. I hated that job because the automotive industry in the U.S. is mad corrupt. You get paid by the job, not by the hour. That meant that during the winter when things were slow, I would be at work for 51 hours and only get paid for 23. That is demoralizing. I had to get out of there at all costs.

We moved from a small one bedroom apartment to a 3 bedroom house that costs about $325 less per month. I went from working 50 plus hours per week to just over 30. I used that time to really step up my game. I sacrificed a lot financially, also socially, because I have no outlet as far as a club to go out and dance, or listen to underground music. There is really no one to hang out with who is into the type of music I'm into, and the area I live in has a bit of the southern racist mentality. People just don't know what to make of me down here. I'm a fish out of water, but the results are being felt and heard all around the world. So, I guess that it has been worth it.

I feel like this..... Technology giveth, and technology taketh away. I most certainly would never have had the chance to do my thing without the advancement of affordable technology. Also, I would have never met Lola and Spider without Soundcloud. I believe that the connecting facilities we all have access to are really useful for skilled and motivated artists to meet and work together over long distances.

However, it cuts both ways. The whole scene is an ugly free for all right now. Technology today allows anyone and everyone who ever wanted to make and put out music the chance to do so. No matter what the quality standard is. That makes life really difficult for the truly dedicated to get any gainful attention. It's like looking at a forest from outer space and trying to pick out a single tree. Not to mention the fact that technology is killing human interaction. I know grown adults who can only be contacted by text. People are forgetting how to verbally communicate. I remember going to record stores and having two hour conversations with perfect strangers. Those days are over in more ways than one. Now people buy records with mouse clicks. Patience, and allowing things to develop naturally are things that are withering on the vine. Instant everything. Before you would dig for records. Now you just facebook your favorite international DJ. and ask for a track list. Where's the fun in that? To each his own, but I try to take a purist's approach in all aspects of life as much as possible. Hopefully that fact comes out through my music.


From all the correspondence between us and through various readings it is quite clear that you are a man with a vision, an almost painfully clear view of how you want your art to be presented and the direction you're taking as an artist – nothing is left to chance. Would you care to expand on this so as to let the readers out there know exactly what the Vanguard Vision is about?

In essence, it's very simple. A healthy scene........

People giving back as much as they take. Now, being that the global culture as a whole is very sick, nothing short of revolutionary thinking/acts can get us back on the right course. The Vanguard are the leaders of this revolution. We represent the blue collar, street level, everyday people who don't live glamorous lives. The music is really the only star in this. The concept of a superstar DJ is ass backwards. That whole phenomenon kills creativity. It's very polarizing. You have people getting filthy rich. With private jets and full entourages. Loved by the masses and vilified by the artistic community. All looking to make money at the expense of the everyday people.

It makes those at the top begin to play it safe to keep their coveted jobs. The line between artist and business person has been erased. People are so concerned about making it, and sustaining their career, as a result, the art form suffers.

At one time, our culture was at the forefront of all aspects of human artistry. I went to many parties with Punks, Ravers, Hippies, Hip Hoppers, Club Heads, Painters, Actors, Poets, Playwrights, Old Jazz heads, and the occasional Grand Parent. All were welcomed and all contributed to make our scene creatively diverse.

Now, everything is monochrome. The youth see all of the fluff and flash that is constantly crammed down their throats, and they want it for themselves. In some ways it's like me and my friends emulating the Rock Steady crew, but horribly twisted. Too many people trying to employ short cuts.

We as veterans in the scene need to reach out to and nurture the new comers. Even if they are dressed like clowns with furry boots LOL! We need to offer a viable alternative to what the media force feeds them. If not, we will see the purity of this culture get watered down even more. The fault of which will be collectively ours.

I have done my best to assemble a team of phenomenal artists. Any of which could hold their own against the best in the world. We constantly inspire each other and push each other to become better at what we do. Much like advanced military training, or martial arts sparring. Because of this, we advance skill-wise much more quickly than we ever could alone. In one year, the abilities increase exponentially.

That type of thing grabs attention. We're like the X-Men, or the Wu Tang Clan. By just existing, we are a very compelling story. And a testament to the ability of music to bring the world together for positive change.

This, I hope will inspire some gifted youth to go the artistic route instead of going commercial. Right now, in my country, we are at a crossroads of sorts. Interest in electronica is at an all time high.

We, the U.S. Underground community of Artists, DJ.'s and Producers would be well served to invest a bit of effort into improving and investing in building a national scene here. I'm not sure if our music will ever be truly accepted, but we have the best chance we've had in 20 years to really make a truly lasting impact.

The revolution is a non-violent movement. Only ignorance, and sucka DJ.'s will be killed. In my spirituality, we follow a concept of build and destroy. In order for us to build the new paradigm, we must first dismantle the old one.

I want to put the music back into the hands of the people. It was created by marginalized individuals who sought to beautify their everyday surroundings. People who made something out of nothing. Right now, it is in the hands of business people. Our music used to be the most advanced and cutting edge by definition. It was constantly advancing and reinventing itself. Now, the popular movement is to look back. On a subconscious, psychological level, this is probably due to the fact that the future is so bleak, and no one wants to look ahead.

It's funny, I once saw a fan compliment a fellow producer by saying his music sounded like it was made 20 years ago. That strikes me as strange. There is nothing wrong with advancing the classic sounds. The problem comes when musical content and ideas take a back seat to sounding old.

We in the Crew all march to the beat of our own drums, and have chosen to set trends rather than follow them. We hope to inspire more of our peers to do the same. Be yourself! If people don't accept you, they are the wrong people. Never compromise your art. History is never made by those who play it safe....and treat one another with the same respect you would like in return.

Now, being that we are doing what it takes to be at the "top of the field", we hope to influence a renaissance of creative expression. Artists only concerned with advancing the art form, and leaving a blueprint for those who come after us. We are the Vanguard because we are all well past the front lines in this aspect, and have been silently advancing for some time now.

The Guerrilla Mercenaries are on reconnaissance missions scoping out the battlefield, and planning our attacks strategically. At the end of 2010, we had the whole year of 2011 entirely mapped out. We formulated a plan and executed it. Between the six of us, we put out a hell of a lot of tracks on several labels. Our own as well as on other like minded ally labels. If people are paying attention at all, they can't help but notice that the Crew is making waves. Little by little injecting something Fresh and New. All doing it because as artists, we are compelled to do so. We'd like to be able to tour and take our message to the streets worldwide, but if that never happens, we will still create at the top of our abilities.

That's art. When you see one of us perform. We strive to give you a memorable experience at the very least, and a life changing one at our best. If not, why do it. This is an art form. Not just some background beats so that people can escape for a few hours. As Vibe Gurus, we want you to be present, and focused on elevating the party to it's fullest potential. Here is an example......

I view my role when DJ.ing as being a portal, or vessel for the channeling of the unknown cosmic forces. That I am then able to transmit and disseminate throughout the venue. This is done by the selecting and mixing of sonic frequencies. Whether people know it or not, tuning into the DJ. and dancing to the groove gets a room full of people all resonating at the same frequency vibration. Dancing amplifies and then re transmits this energy back to the vessel. These things create a feedback loop that acts to open up a portal to higher dimensions. The result is that "Magical" life changing experience we hear about sometimes.

Just imagine what happens when you have several hundred people intentionally focused on elevating the collective consciousness. A fucking revolutionary event! Healthy scenes in which everyone is welcomed and new artists are nurtured instead of stifled.

This is what it's all about.


Now that your first release is out into the world, what is the next move for the Vanguard? And what is the next move for Amir? Are you and your project now essentially one and the same or do you like to maintain some distance?

The next move for Vanguard Sound the label is Chris Mitchell's first full solo ep. It is untitled at the moment, but the tracks are getting some great feedback. As his friend, I am very happy to see a dedicated artist finally get some well deserved attention. This guy is very easy going and reserved until you put him behind some turntables. Then he becomes a monster. I may have never produced anything had it not been for him. He was the first person to let me use their gear.

When I finally started the label, I asked Chris to be my partner because as an artist and a man, he was up to it, and because I had never forgotten his selfless kindness at the beginning of our friendship. He was there when the seed was planted over 14 years ago, so it made perfect sense that we would run the label together.

The next move for me is to try to get some stable work. For the past few months I have been surviving on odd jobs and the little money I have received for a few ep's, remixes, and tracks that will be out later this spring. Going to bed hungry and driven to never again work for anyone who doesn't appreciate my utter dedication to a job well done has been my daily existence. It is sometimes frustrating that talented and able individuals must go through all types of unnecessary madness just to be able to have a chance to get rejected......but, it is what it is though. I just try to stay as positive as possible. It's great to have a group of friends who know exactly what I'm going through artistically. I'm afraid to think about what might have happened had I not had these people to reach out to.

Music wise, you can expect me to diligently continue to master my craft and get better at what I do. The physical manifestations of which will be more records. Made from the perspective of a DJ. who is first and foremost a dancer. I will continue to display my dedication to excellence in all aspects of the culture. When I travel, I love to hit the dancefloor incognito and work up a sweat. I find it to be a great way to gauge the crowd. Just become a part of the crowd, and soak up some vibes.

This year will also see me reintegrate myself into the Chicago Club Scene. I am very excited about the fact that at last, the new school of producers are finally getting some attention. I hope to start another collective of like minded DJ.'s when I get back and, together, add a new chapter to the Chicago story book.

I would have to say yes. I am my art. True art is just the exteriorization of one's soul. Vanguard Sound and I are one in the same. There is no separation. That's why I record under my own name. My art it is a piece of my soul on display for the whole world to see......and hopefully enjoy (if they wish).

Man, I am in the streets everyday, and I am very accessible. I always make time for fans of my work, peers, or anyone else who reaches out as you well know. True success in this industry, in my opinion, is predicated by your relationships with people. Foster and nourish strong bonds. Support people who are doing their best and really giving themselves to the movement. Stay humble, and never let anyone tell you what you can or cannot do. Only you know your full potential.

At this point, I feel we need to create more closeness, not distance. That being said, I will continue to live and breathe electronic DJ./dance music culture. I will continue to choose personal hardship if that's what it takes to be the best artist I can be. I dropped out of the scene to come back in a greater capacity to be able to influence positive advancement. I am now ready to do so.


What are the final words for the readers out there?

We are about ordinary people doing extraordinary things. Showing that anyone can accomplish their goals with a lot of dedication, and hard work. Be the change that you wish to see is a motto I live by. Music and dancing is all about people coming together to have a great time, and elevating the collective consciousness. Remember, it's good to be different. Diversity is one of the main engines of any creative movement.

I would invite everyone reading this to try to look at things with a bit of a historical perspective, and to try to see their place in it. We only live once in this incarnation, and life is mad short. Do you want to die feeling like you wasted your life, or would you like to add to the lexicon? Don't be afraid to take calculated risks when you believe strongly in something. If you are passionate about a thing, put yourself out there. It's time to stop living off the momentum that was created by the founders, and truly add to, and advance the culture. Ask yourself....... "Are you putting in as much as you are taking out?”

Lastly, I would ask people to get out of their comfort zones and put their neck out, if they really believe in this culture. That's what created all of this, and sadly, it's what has been missing for that last fifteen plus years. Actions speak loader than words, so walk the talk.

I bid you all Peace, Wisdom, and Understanding

A.A.


Tracklist

1. Chris Mitchell - Limitations Force Everything // Vanguard Sound
2. Liddell Townsell - As Acid Turns // Trax Records
3. Hakim Murphy - Micro 303 // Synapsis Records
4. Jungle Wonz - Time Marches On (Justin Strauss Just Right Remix) // Vendetta Records
5. Will Azada - Let's Get Tight // Proper Trax
6. DJ Spider - Tribal Mechanism! // Vanguard Sound
7. Kerri Chandler - Oblivion // Soul Heaven Records
8. Hakim Murphy - Flirt // Synapsis
9. Chris Mitchell - Lonely Nights (Dakini9 Remix) // Plan B Recordings
10. Amir Alexander & Dakini9 - Black Ops! // Machining Dreams
11. Skip Donohue - Hustle & Survive // Hip Therapist
12. James Cotton - Press Your Body // Spectral Sound
13. Amir Alexander - Violence // Vanguard Sound
14. James Cotton - Blue Blood // Spectral Sound
15. Hakim Murphy - Creeper // Vanguard Sound
16. Markey - Come & Get It // Relief Records
17. Paul Johnson - Let Me Know // Cajual Records