"I guess I know which limits to prioritize [in order to give his productions a unique sound]. There’s a hierarchy of limitations that are self-imposed. It’s common for people working with computers, film editors too. There’s a hierarchy that I have decided works in my world, and nobody else knows it - not because it’s great or anything, just because I haven’t told anyone. That hierarchy is what people interpret as a signature. It’s just an order of doing things. It’s like an organism I’m developing."
Levon Vincent Interview in The Quietus
“Music, especially when purely instrumental, is a very ghostly form of art in itself. There is no explicit meaning, there is room for thoughts to wander. Also, music has the power to produce trance-like mental states and therefore often plays essential roles in shamanic rituals, religious ceremonies and in all kinds of drug-related contexts. Music creates non-existing spaces and populates it with all sorts of magic objects. And, of course the creational process of computer-generated music itself is a very bodiless and ghostly experience, similar to the mysterious appearance of an image on photographic paper when exposed in the darkroom.”
Monolake Interview in Fact
"I believe art cannot exist without clichés. I’ve never seen something 100% unique. I only see unique things if I don’t know enough about what other people did. The more I learn about art in all forms, the more I understand that it’s all a slow process. It’s just people adding on top of each other."
Monolake Interview on RA
"I am surprised that the mature crowd is not tired of banging music. After so many years of listening music you must be deaf to still want hard dance tracks like you did when you were 16. The music should shape your spirituality and make you desire more from it; it’s a natural life process, the way you shape the future, and the way you will have it."
Petre Inspirescu of Ar:pi:ar Intervew
"I think underground is the wrong word these days—nothing underground really exists anymore—but it is that vibe. It’s new music, fresh shit, having a point of view in that world, and not wanting more. I don’t wanna be a pop star. I don’t want to crossover. I don’t care about that. I wanna run a great label. I want it to grow. I wanna be able to take it from grass roots, and just have a point of view within this music".
Loefah/Swamp81Feature in RA
"I’m interested in playing tracks from loads of different areas and time periods, but if I can’t put together a set that flows naturally then all I am is a jukebox. I believe the role of a DJ, in this era of increased accessibility, is to make connections between records that people might not have thought of – to make people hear records in new and different ways just by exploring the contexts in which they’re played."
Ben UFO Interview on Soundwall
“The goalposts need moving. I’m not scared to push in new directions with releases, if it’s confusing, hopefully it’ll all make sense in retrospect. I realise the Ekoplekz LP was a no holds barred bombshell, we really wanted to push that to the limits, but hopefully that shockwave can open doors for more left leaning Bristol artists in to what has become a very conservative global scene considering the obtuseness of where we started.”
Peverlist Inteview and featured mix on Sonic Router
"[There are] two sides of the coin that is a look at where the label is going, a kind of mixture of dance floor and non-dance floor stuff. Different BPMs, different sounds but I think there is a Perc Trax aesthetic. Whether I am releasing house, techno or weird drum & bass, the aesthetic is always there."
Perc Trax Feature in RA
"Critical was birthed "[so I could be] involved in a scene I love. I was inspired by labels like Metalheadz and 31. Those are key to me; during my formative years they blew me away, and the crux for me that it was never one genre. Just good music. I wanted a similar ethos—drum & bass sometimes suffers from subgenres, and I’m not interested in that. For me it’s purely defined by tempo."
Critical Recordings Feature in RA