Download Side B – 30:14, 55.3 MB

256kbps, 44.1kHz stereo

Stereo rebalanced, normalized, treble boosted

Preview

This is a white label tape simply labelled “Clarkee”. The case lists “1996″ on the spine of the J-card.

It’s primarily chugging hardcore with percussive progressive minimalist techno-style arrangements, with some acidcore and bleepy little melodies thrown in for good measure. The 4/4 is pretty dependable throughout, punctuated by distorted 909s. If the audio range weren’t so full I’d suspect nearly the entire mix was comprised of hard techno tracks pitched up to 45.

There is a certain je-ne-sais-quois about this mix that really makes it stand out. It’s not just any hardcore mix. The regularity and monotony of the beats and patterns might be a turn-off for some, but I find myself really losing myself in the rhythm as I listen. The sound is really unconventional and relentless, almost like the caffeinated love child of Hardfloor and Robert Hood.

This is one of very few Clarkee mixes I’ve heard, but it’s enough for me to call him one of my favourite hardcore DJs of all time. I just love the direction he takes. It has a great mood and doesn’t fear to stomp all over uncharted territory. Definitely one of my favourite mixes.

Please leave a comment to tell me whether you enjoy this mix!

Download Side B – 47:39, 109 MB

320kbps, 44.1kHz stereo, normalized

Preview

The MC.  I know.  Moving right along…

As I recall I bought this tape from Numb after they played me a few excerpts from various local mixes.  The combination of happy and dark gabber sounds made a big impression on me and thankfully this style carries on throughout the duration.  It’s an interesting production that seems to be a combination of live studio mixing and 4-tracking which reminds me of R.A.W.’s No Darkness, but adds what sounds like various musings from friends which adds a sort of homegrown touch.

The mixing is usually good, sometimes rough, and makes an oops or two.  Hardtripp uses a lot of cuts and juggles and tries a few tricks and teasers so I cut him some slack.  I’d much rather hear a less-polished mix that takes chances than a seamless but boring affair.  Nothing ventured, nothing gained.  He demonstrates a great DJ’s intuition which makes his ambitious attempts almost as enjoyable as if they had been slightly more successful.  I especially admire his idea to mix in a simple percussive drum line to scratch over for a couple of minutes before returning to the anthems.

That being said…

The MC is awful.  The rhymes and timing are weak and the recording isn’t tuned properly to hear his voice clearly.  This turns out to be a blessing since the poor MCing mushes into the background somewhat, making it possible to just ignore the voice in favour of the music.  He shuts his yap often enough that the mix isn’t a write-off.  Not the worst I’ve heard but not far off.

Stick with this one because there are some terrific versions of hardcore anthems in here, plus many tunes I’ve never heard elsewhere but really ought to be anthems themselves (doo day doo day!).  My nostalgia for this tape, which I’ve listened to between 30 and 7000 times, might be giving me rose-coloured earglasses, so press play on the excerpt to see whether you can swallow this. (how’s that for a mixed metaphor)

Now gather ’round for story time, candy kids!

I used to frequent one of Toronto’s most underground weekly gatherings at a place known as “Sunshine Wayne’s” (which was in this general vicinity ).  It was a little 2nd-floor apartment sans most of its walls which brought in local happy hardcore and trance DJs for its faithful clientele.  One evening I was overjoyed to find Hardtripp on the lineup.

He was on early and I was one of the only attendees at the time so I had the pleasure of shaking his hand and chatting with him for a bit before his set.  I gave him a very vague description of my favourite track on his Volume 16 tape and he knew exactly what I was talking about.  He said he didn’t like to bring it to gigs because the record was warped, but he just so happened to have it with him that night!  He played the tune just for me.  Press play below to hear this song.

I could visibly see how warped the record was, and the song sounded kind of queasy as if it were pitching up and slowing down slightly.  Neither I nor my feet cared one bit.  The record may have been revealing its mortality that night, but for me the moment is immortal.  Nuff respect to a man who comes to rock a crowd, one raver at a time.

The next time I saw Hardtripp spin he had turned to the dark side, spinning trance.  He wasn’t bad but his selections were very ordinary.  His last track of a night was one he had composed himself, and that got a great reaction from the crowd, so I grinned vicariously knowing he’d gotten a moment he deserved.

Did you ever catch this elusive DJ behind the decks at a club or rave?  Do you have any of the other 15+ volumes this chap recorded?  Do tell!  Leave a comment!

Download Side B – 46:09, 84.5 MB

256kbps, 44.1kHz stereo

Perceived peak normalized, treble boosted

Preview

This tape is extra special because it’s the first one I ever bought! I picked this mix up from the second rave I ever attended – a Citrus party if memory serves. I remember taking exception to paying $10 or $15 for what looked like an obvious dub job in a black and white photocopied case, but at the time and for many years afterward Josh Wink was my favourite DJ and my hero, really, so it was a lucky find.

This mix is a bit unconventional as it is a very minimal and groovy arrangement as opposed to a series of songs. Wink starts out with some driving, growly tracks that set a 4:00am-bass-shaking-an-old-warehouse kind of mood, showcasing some really dark and brooding themes. He then opens up a little, introducing some brighter, poppier grooves that lighten the mood but keep up the pace. He closes out with more melodic and tribal sounds which seem to be introduced to take advantage of your fatigue from the unrelenting moods and rhythms, intoxicating you with head-swimming chord progressions, hip-shaking congas, and bubbly acid lines. It’s a real journey that carries you through in barely perceptible steps which is a sign of a very focused and well-practised DJ with a story to tell.

Fans of Josh Wink will recognize his style permeating every song here; so much so that I suspect many of the tracks are his own white labels. Wink is known as quite a tactician of percussion and rhythm and his characteristic open hi-hats, off-beat snares, punchy kicks, and mod wheel tomfoolery are on full display.

You can almost picture Josh straddling the border between house and techno, dangling his dreadlocks on either side. The elements of repetition and monotony of techno are interposed with the melodies and swing of house. I’d heard his singles like Higher State of Consciousness and I Am Ready and his Left Above The Clouds album, but this mixtape revealed to me what I felt was the REAL Josh Wink – something he accomplished in an hour and a half instead of over months. I respected him all the more for it.

This mix is so great that I have to curb myself from yammering on about it. I’ll close with a heads-up to listen out for his great mixing (minimal techno has few reference points so it takes a steady mind to keep the 4/4 straight) and for the two very different and well-implemented remixes of Don’t Laugh. Enjoy, and please leave a comment to tell me how you like this mix!

Download Side B – 29:37, 54.2 MB

256kbps, 44.1kHz stereo

Preview

This was my second rave tape, given to me by Will in high school. It’s a promo tape that was given away with pre-ordered tickets to the Utopia rave in Toronto in May of 1996. The flyer was super awesome, depicting an enormous eyeball towering over a Utopia logo. This was supposed to be my first rave but my friends chickened out, so we didn’t attend one until Destiny 16 in October of the same year.

This tape is really neat and I’m not sure how it’s mixed – four-tracked, maybe? The liner notes list many DJs which would leave me to believe that it’s just songs composed by the headliner artists, but side B features an overdubbed intro sample for Nicky Blackmarket and later an MC props up Darren Jay so I’m not sure.

Oh, did I neglect to mention that side A is techno and trance while side B is oldskool jump-up and ragga jungle? An odd combination indeed, but I imagine it summed up the party proceedings thoroughly.

On side A the opening is the song that thankfully introduced me to Bjork, and the song coming in at 21:00 has that overbaked TB303 that melts my mind. Side B has some of the choicest cuts of some big jungle anthems that I’ve never heard anywhere else. I especially love this mix of Jungalist.

Enjoy, share, and leave a comment!