All posts by Louise Plus One


Hue Jah Fink, a.k.a. Richy Hughes earned his first production stripes using an Amiga with the OctaMED software in 1991 where his interests in computer programming and music collided creatively.  Set amongst a backdrop of mixtapes, CDs and vinyl from the burgeoning underground, it was often the darker breakbeat sounds from the raves as well as the depth and hypnosis of ambient music that really caught his ear as he developed his sample editing and sequencing skills.

He soon began to DJ in various venues and outdoor raves across the south west of England, culminating in a residency at the legendary ‘Brunel Rooms’ Swindon where he would win over a steady following of eclectic music lovers with his uniquely varied selection of beats and guest DJs.

In 1999 he began his voyage to the capital city, and began working closely with London sound-systems ‘Headfuk’ and ‘Unsound’ as a DJ and also a producer releasing and performing music both solo and collaboratively.  Purely from being spotted scratching and blending unlikely selections at underground events, Richy has been asked to DJ for Raindance, numerous guest spots for arts station Resonance FM and more recently a residency at ‘The London Underground’ venue in Block 9 Glastonbury performing alongside reknowned acts such as Nicky Blackmarket, Hyper-On-Experience, 2 Bad Mice, Youngsta and Blawan.

It was his great experiences at Block 9 that drove him to direct and manage his own venue at Glastonbury 2015.  ‘Brainwash’ in Shangri-la featured political cinema, music and games during the daytime hours, and at night a rave with 360 degree original projections and music from DJ Flight, EZ Rollers, Emika, Scanone, Distant Planet’s own Louise+1 and Hughesee and many more.

Constantly pushing the possibilities of computer based audio production across multiple genres and under various aliases, he rapidly became known on the London scene as a respected source of technical advice and assistance to producers, teaching music production to children and adults alike and eventually establishing Binary Feedback Digital Audio in 2008.  Here he offers professional services to app developers, film makers, creative events companies as well as the working with many of the UK’s respected underground electronic labels such as Yellow Machines, Combat Recordings, Rag And Bone, Boka, Frijsfo Beats, Senseless, and the stateside Section8 / Plush Recordings group.

He would later be introduced to Rob Booth of Electronic Explorations to master his flagship 61 track compilation. It was here he impressed Emika with his skills, who asked him to master her second album project for Ninja Tune and has kept him on board for all her work since starting her own label. When a backstreet Hackney guy can compete with the big studios engineering for artists like Emika, Plaid / Black Dog, Kirsty Hawkshaw, Marcus Intalex, Milanese, King Cannibal, Machinedrum, DjRum, Boxcutter and Aaron Spectre, he must be doing consistently high quality work.

On his own musical productions he’s been no slouch, most notably working with the legendary vocalist Kirsty Hawkshaw in 2009 when launching his own DIY digital imprint Binary Feedback Music. He has attracted DJ support and praise from the likes of The DJ Producer, Freq Nasty, Starkey, Jerome Hill, Warlock, Xhin, DJ Phantasy, Kissy Sell Out, Laurent Garnier, Danny Breaks and many more taste-makers across the globe.

Despite having progressed far from slicing up 8-bit breakbeats and atmospherics back at the birth of the 90s to the seemingly distant world of professional audio engineering and venue programming, the sounds of darkside rave, jungle and deep DNB have always been in his heart.

You can hear him revisit his roots and take you on heartfelt, progressive journeys through the vinyl crates live on Distant Planet TV.
Facebook – Binary Feedback Digital Audio


There are people who don’t want to hide their collection of electronic music hardware away in a pristine studio. There are people who, while plumbing a reserve of patience deeper than the Mariana Trench and going through countless iterations in their set-up, finally get each instrument to trigger in time and play in tune with all the other ones, making sounds they’re happy with in the process. There are people who then risk it all and take it outside. Out into the unkind and dangerous world. And make loads of fucking noise with it.

This photo is of my band TR-33N. It was taken by photographer Nadia Otshudi at the Music Day Festival 2014 in Shoreditch Park, London. I completely love that I’m whooping a rave war cry like some kind of madwoman and inadvertently pointing at a tower block. I’m wearing the finest t-shirt I own (thanks to the screen printing skills of ashes57) and I’ve had the bizarre cockney rhyming foresight to bring a packet of cheesey quavers along in case of a sudden attack of the munchies. At no live appearance have I ever suddenly wanted to eat; it makes no sense!

I’m lucky that our band grew out of the staunchly left-leaning, artistically imaginative and almost determinedly reckless UK sound system culture of the late Nineties and early Noughties. Many of those same energetic and dedicated people are still to be found on the party scene today, only now they’re putting on extraordinary events and festivals that operate within legitimate frameworks as well as outside them. And, if we’re very lucky, sometimes we get asked to come back and be a part of it. So I’d like to say: Thanks for having us.

Those who have experienced the sharp end of rave and squat scene logistics (’gaining access’ through broken windows, hard wiring into the mains by torchlight, lifting bass bins up five flights of stairs without making any noise) are not the kind to be put off by the extra faff it takes to facilitate a bit of hardware in the wild. The fact we need ages to set up, we don’t fit in the DJ booth, we need a proper sound check. The fact, in a nutshell, that we’re not DJs who can plug in a phono to mini-jack and be ready. For our part every time we take the live set out we pack up our entire studio including the rack it stands on, remembering to bring the little allen key that means when we set the rack up again the whole thing doesn’t fall straight down again onto our toes breaking about three and half grand’s worth of gear in the process, drive it a few hundred miles – did I mention get a babysitter for our two kids? – unload it all again, plug 50+ leads in, check every connection, check every instrument is working and is being triggered properly, get the rack into position, make sure we have got enough light and space to operate it all in, gaffer tape the set list to something, do a sound check, trouble-shoot the mix, play an hour and a half’s worth of completely live, inordinately loud and utterly banging techno and then do it all again in reverse to get it home again. All usually just for the cost of our travel. Frankly, considering the effort people have gone to for us all to have a dance back in the day, it’s a doddle: no-one is calling the police.

This photo was taken at the point in the set where finally everything was working as it was supposed to – like most other live acts, it’s usual for some vital bit of gear to immediately malfunction and for one or other of us to spend half the set fire fighting the problem in a blind panic while trying to act like it’s all fine. The sound was incredible. A massive slab of Virus hypersaw was tearing across the park. People were being drawn from all corners of it to see what was going on. People were hitting the dance floor. I was feeling really confident with the material and the machines. By this time there were no 8 year-old kids playing a cool new game of throwing fistfuls of sand and grit from the ground directly onto all the hardware, and no folks boom-bipping away on their djembes ever-so-slightly out of time with the beat, because I’d already told them all to seriously just fuck off now.

This photo shows the raw and happy face of hardware in the wild. I can’t tell you how good it feels.



Growing up listening to Rare Groove, Gospel, Roots, Ska and Hip-Hop, Threshold was never far from production. His sister being a singer/ ballet dancer & father a Reggae enthusiast, with not a lot but prime cuts of Old Skool 7″ records from Blue Beat to Al Green, to Trojan, he quickly gravitated towards the turntables after seeing his brothers decks. Bunking school was an important part for his development, taking many day trips to Dollis Hill station to see his then Idols Manix and 4hero from the seminal Reinforced label and to Elephant & Castle to Music Madness. Here he really discovered Hardcore, moving on after to playing on stations such as Storm FM, Upfront and Flex FM where he started meeting many other like-minded DJ’s along the way.

This led him to engineering and production where he met pals with the same drive, Brian and Matthew. Brian was already in the throes of organising his own events, Garrison with DJ Flight (1xtra/Rinse) and booked Threshold. The 1st time they DJ’d together they had the freaky situation where Threshold played and Brian found himself opening his bag to reveal the he was about to play the same 1st 6 tracks in the same order! This as they say, is where it began.

They started buying equipment with each person chipping in then started producing music. Be it Jungle or Down Tempo, being inspired from everything from Johnny Clarke to Johnny Jungle and during this period, Threshold started working as an engineer for the legendary Eskimo Noise company which led to working with top promoters in the scene and outside on corporate events.

While under the watchful eyes of his then manager Troy and guidance from another engineer Bevin, he was chosen to be in the elite team to work in the legendary Metalheadz sessions. Together Threshold, Brian and Matthew formed Special Branch with their 1st 3 releases being on Ray Keith’s Penny Black imprint coming with the classic Dub Transmission E.P. which had heavy support from the likes of Doc Scott/ Storm/ Bailey/ Stretch & Goldie. Leading to a release on Reinforced Records under the alias Espionage with a track called Futuroid. Fabio and Grooverider the top DJ’s at the time did a whole 8 months playing it as did High Contrast.

After more releases and taking on more engineering Threshold takes a break from his studio where he encounters another young artist with massive potential and starts to help him through. This artist later on was named Breakage co-producing a few of his early tracks and exchanging techniques in production, leading to another release on Reinforced. Moving on he discovered a night, Rupture where he meets Double O and Mantra who help show him he’s not the only one who misses the depth of sub bass in the music and a friendship grew. Soon on the roster Threshold soon became popular in the Rupture camp and went on to strong release on Rupture LDN with a track called Sweat Rice! (Do not ask about the name…) this then inspired Threshold to set up his own imprint with Jamma  (to showcase new talents like Demented soul, Disarae, ID4 and Merge).  Playing at popular nights such as Renegade Hardware, Beautifully Crafted Jungle, Rupture, Distant Planet & Skutta (to name but a few) enabled him to test tracks that he feared playing. Little did he know this would set him up releases on AKO Beatz, Skeleton records, Fresh 86, Skutta recordings & Western Lore.

2019 and beyond, always looking for the next fix in the studio… Cant see this changing anytime soon.

Dave Faze


Dave Faze has been Dj’ing Jungle, Hardcore and DnB since the mid 90’s and has played numerous gigs across Scotland, London and Italy over the years supporting artists such as Brockie, Uncle Dugs, FBD Project, Threshold, Equinox and Bizzy B to name but a few. Dave has played at various club nights such as Rupture, Time Rewind and was also part of the  Interlight Crew at The Castle where he held down a residency rinsing the sounds of old skool hardcore and jungle.

You can catch Dave Faze’s bi-weekly show on Saturdays from 12-2pm and also on once a month on Saturday’s from 12:30 – 2:30pm. Dave loves to dig deep in his selection, not drawing for the obvious tracks but will always bring the vibes to the party!


Dextrous has been producing as well as DJing for over 2 decades. Starting his career in the late ‘80s, as Dextrous he cut his teeth making Hardcore / Jungle as it was then known. His first release was on ‘Shut Up and Dance Records’ sister label Ruff Quality Recordings with a track entitled Ruffneck Bizznizz back in 1992. From there he started his own label King of the Jungle Records in 1993, where he enjoyed much success with his then partner Rude Boy Keith, flying around the globe DJing and PA’ing. His DJing has taken him to countries such as: Austria, Germany, Canada, America, Holland, Latvia, Belgium, Estonia, Ireland and Italy to name but a few, as well as many locations in his native U.K.

As King of the Jungle was already establishing a particular sound Dextrous decided to start another label where he could concentrate on his own projects. This was the birth of Subliminal Records, (which in December 1994 became Subversive Recordings due to an imprint called Subliminal already being in existence).

By late 1994 Dextrous hooked up with 2 other guys, Paul Brown and Jon Stewart (who then went by the names of Phaze 3 and Klass A respectively) whom he had met whilst DJing on the London pirate station Kool FM. They all shared the same artistic ideas and the frustrations with the way the scene appeared to overlook a more musical approach in Drum & Bass production. So Dextrous decided to start State of the Art Recordings, as a vehicle to release music that wasn’t confined to the ubiquitous styles that club DJs were playing at that time, to allow a little more freedom of expression, and with that, reach a whole new audience. The three of them recorded together under the name Solid State and christened their sound Urban Fusion, which encompassed many elements i.e., Funk, Jazz, Techno, Dub…as well as Drum & Bass. Solid State became known as the one of the pioneers of Drum & Bass Funk Fusion and paved the way for more musical producers such as Calibre and High Contrast, amongst others.

Well as they say “all good things come to an end!”, and by the summer of 2000 the three guys parted company. Their last project together was the album entitled ‘Point of No Return’ (pretty fitting!) on the Renegade Recordings label, which included their most popular track to date: “Just a Vision” featuring Zoe H.

Since then, Dextrous has become heavily involved in composing music for library companies and has had many of his recordings featured on adverts and TV programmes such as Footballer’s wives, The Stepfather, Driven, Trisha, Doctors, London Today, Sky Travel, to name but a few. He was also commissioned to compose the theme tune to ITV’s “The LADS” which was a men’s magazine programme aired a few years back on Friday nights.
In addition to his production of Drum & Bass, Dextrous is slowing down the BPMs from time to time and experimenting in other areas. As ‘Transcendent Minds’ (a project started on Dynamite Joint Recordings and continued on Karma Giraffe) Dextrous has been able to progress with the Urban Fusion sound (also known today as Broken Beats, Electric Soul, Future Jazz) where Solid State left off. Once again highlighting Dextrous musical versatility, as he is always seeking new sounds to fuse together in order to form hybrid genres, which is also evident in his DJ sets as he loves to mix things up!

With this wealth of experience Dextrous was a great choice for scoring the BAFTA winning “Feltham Sings” documentary shown on Channel 4 in 2002. Having a diverse musical background and a passion for working with & being a positive role model for inner city youth, undertaking this project made perfect sense. It was a huge challenge as Dextrous was brought on to the project pretty late on, so was only given 3 months at most to get the whole project completed. But…all was not lost, so successful was Dextrous’ input to this project, that he won a coveted Ivor Novello Award (2002) in the category ‘Best original music for TV’, in addition to the entire team behind “Feltham Sings” winning a BAFTA for Best Documentary (2002). The documentary also received a nomination for The Greison Documentary Award, and Dextrous was nominated for a Royal Television Society Award for his musical efforts.

More recently, Dextrous has also been involved with youth work. Together with ‘Stage One’ he has devised a ‘Youth Music Workshop Program’ that has been a success so far. He has helped develop the talents of young people in under privileged areas and those that have criminal backgrounds or have been socially excluded. These programs include basic music technology tuition together with vocal training, song writing, choreography, graphic design, make-up and tutorials on the legal side of the music industry. He has since worked in conjunction with the following organizations: Connexions, Youth Music, Befrienders (Barking and Dagenham), Ladders, Community Links, Crime Concern, Breaking Through, as well as many schools in Waltham Forest freelance. He has also worked for many years with Irish Travellers doing more generic youth work.

Right now his main goals are to get back in the studio to work on some new productions and return to DJing on a more frequent basis. He also plans to continue developing his skills as a photographer, a lifelong passion that he has given much more attention to in recent years.

DJ Skie


One of London’s leading female DJ’s, Skie’s passion for electronica music started at an early age in the 70’s, with the influences of Kraftwerk, and with 80’s Electro, Hip Hop and ‘Jack & House’.

Towards the late 80’s Skie stumbled upon the M25 ‘Acid House scene’ via her brother, a ticket agent for all the major events. If there was a huge warehouse or field party around the M25 orbital in 1989/90 she was likely to be there.
In 1991 Skie landed a job at Total Music in East London. During her time at Total Music, she was working alongside DJ’s and Producers such as Hyde from London’s Fantasy FM, Spice and Jaz E, but it was Steve Canueto who taught Skie the basics of mixing on the 1210’s.

Skie started to build up her vinyl collection through 1991 and back dating her ’88-90 collection with all the tunes she loved and remembered from those times. In May of 1991 DJ Anton from Chillin 98.0 was in Total Music and saw her mixing. As a result he asked if she wanted a show on a new radio station called Pulse FM, which was going live in August 1991. She agreed and from there the journey began.

In 1991 Skie started to receive bookings playing Hardcore for the Bassbox, Harmony in Zodiac studio and little undeground events in and around East London, In 1992/3 She started to play for Labrynth in Dalston Lane and Bagleys and Desire/2000ad where she played House/Progressive. In 1993-1997 she had various bookings including the Roller Express and Moondance @ Camden palace and Innovation Club UN and Double Dipped at Bagleys. In 1995 Pulse FM left the airwaves and Skie Joined Eruption 101.3FM which she left in 2011. In the late 90’s-early 2000’s Skie started to play Uplifting Trance for Labrynth and various events outside London and in North Germany until 2005 when she started playing Hardcore once again.

To date you can now catch Skie spinning Hardcore & House for Raindance, Moondance, Labrynth, Society and many more.

You can catch Skie every fortnight on London’

Double O


We are so looking forward to the legendary Double O aka David Rupture coming to play for us at Distant Planet on Saturday 13th April at venue MOT. Check out his amazing musical history which accounts for his ability to be able to play sets of so many different styles from so many different years (tickets and event info links in comments below)

Double O formally 007 was brought up on lots of different forms of black music growing up as a child. Reggae, Soul, Funk, Rare Groove, Calypso. Then later on Electro, hip Hop, Detroit Techno Hardcore and Jungle etc. He started making music in the late 80ies inspired by his older Brother who had his own Reggae sound system. Double O started DJing professionally in the early 90ies at the Doncaster warehouse and various clubs up North. At the Warehouse he had his first release with DJ Mzone. Double O also met DJ SS where he made and put out one of his biggest and most well-known productions called the Undercover Agent EP on Formation Records.

Around the same time, he also made a tune at L doubles Studio with the same sample (Michael prophet Your love vocal) which was on one of the tunes from the undercover ep (your love). Due to some confusion and inexperience the tune ended coming out on Reinforced Records called low Key Movements “come cross” but Double O was never credited. He eventually Set up Rupture with DJ Mantra (A night dedicated to quality drum n bass music and oldskool) Music has enabled him to travel around the globe playing to and meeting likeminded musical people.

Double O primally known as a Drum n Bass DJ makes and collects many different forms of music, Techno, old Reggae and Rare Groove as well as Hip Hop.
“I just like good music ” Says Dubz (as his friends know him as). Also, now with the Highly talented DJ Mantra they have set up Rupture London ( A Night and label dedicated to good quality electronic music.

Thank you for taking to time to view my profile, below are a few of the labels Double O has releases with!

Rupture London
Hidden Hawaii
Syncopathic recs
Eastern promise
Criminal records
Formation recs(1994)
Lab logic(1995)
Rogue records(94)
Mzone and Double O(1992)

Music who feels it shows it who knows it feels it …..and remember don’t come with an ego we turn that to zero!!





Representing real drum and bass at it’s finest, Mantra’s deep and emotive sound in the mix comes from an intense passion for the music. With a selection that’s both inspirational as well as educational, her sets bring the beats into balance and cross the spectrum of dark and uplifting styles. Much more than just a DJ, Mantra has already made an impact across the drum and bass scene and looks set to keep rolling strong.

Conscious of the history of the music she loves yet always looking to push things forward, she’s no newcomer and her involvement with drum and bass runs much deeper than just a hobby. Having worked for record distributers SRD as well as promoting her own regular club night, Rupture, she’s learnt from the ground up and built a solid foundation on which she continues to grow.

The success of Rupture stands testament to Mantra’s hard work and commitment, and that of her partner Double-O. Borne of a desire to take it back to basics, Rupture has gone from strength to strength with original lineups that combine the best new DJs alongside some of the underground’s leading lights. The night has built up over the past 9 years to form what is now recognized as London’s best underground dnb night.

DJ Mantra has played recently in Berlin, Austria, Birmingham and Manchester as well as festivals such as Boomtown and Glastonbury.
Her productions have been supported by dBridge, Loxy, Flight, Storm amongst others. With collaborations underway with Gremlinz, Drum Cypha and her partner, Double O, Mantra’s productions are set to keep moving forward and she has just released a track on vinyl on AKO Beats – Unknown Elements 2 – Dark Matters Limited Picture Disc (AKOB 004)

AIM – mantradj


DJ Mantra – Facebook

Looking forward to hearing No Yeah No play at Rupture vs Distant Planet. Check out her biog.

Looking forward to hearing No Yeah No play at Rupture vs Distant Planet. Check out her biog.

London DJ, Noyeahno, started her career during the massive rave explosion in the early nineties. Known as DJ Stacey back then, she was found both DJing and partying hard throughout this time. At the age of 17 she managed to get a show on the now infamous Fantasy FM, playing alongside the legends to be of DJ Hype, DJ Rap, DJ Krome etc. as well as dropping tunes at many an underground party in those glory days.

After the rave years calmed down she has been involved with many different musical genres, always searching out the beats that make her move. From the early 2000’s she has co-run Rag & Bone Records and currently has a regular show on

Her style is a mash up of genres that make the partee jump, bass heavy, rave driven and often with no mercy.

However, for her return to Rupture Vs Distant Planet, she’ll be going back to her roots digging out some proper 1991 pressure, expect tunes, no fillers, all killer!

We will be hosting the rave quiz at our next event on August 8th at the Fox & Firkin pub in South London

Here are some questions to get your brain in gear.

Who are the 3 Detroit artists known for creating techno ?

In the tune Charly by the Prodigy who did the Cat noise originally that features in the tune ?

Which East London venue spanned 20 years and held nights such as Hypnosis & Re-
rave-all and was also where Carl Cox did his 1st warm up gigs?

Which DJ is known for his Red series?

Which techno star named himself after a whale?

In the tune Charly by the Prodigy who did the Cat noise originally that features in the tune?

Complete these duos:

______ & Ratty
Shut Up & ______
MC Jay J & ________
Chops EMC & ________
Gappa G & ________

Which Rave act originating from Dollis Hill had a debut album called “In rough territory” ?

Ron Wells & Loftgroover released records on Basement records and Sinister records as?

Which rave act released tunes such as 20,000 Hardcore Members, There is no Law and Temple of Dreams?

What was the real name of the artist who’s alter egos were direct, technical onslaught, final exposure and program 2?

Who are the 3 Detroit artists known for creating techno?

What is the real name of Spiral tribe member who produced moving shadow 01?

What was the name of the subsidiary label of Rising High Records named after Casper Pound the label owners daughter?

Who released tunes under aliases Captain Codseyes, Curly Greylox, Eat Life, and Ruff Tuff & Wicked Stuff? And what was the name of his record shop he ran in London for a bonus point?

When the Sun newspaper went undercover at the Sunrise party in 1989 they reported that they found thousands of…what?

a) Radioactive glow sticks
a) Ecstasy Wrappers
c) Acid pipes

Which East London venue spanned 20 years and held nights such as Hypnosis & Re-rave-all and was also where Carl Cox did his 1st warm up gigs?

If you were making a rave track what would you call it ?

We will put the answers up later in the week