Tricky DiscoMix: The Kelly Twins' 'Galactic Jams'

We've got a bit of a treat for you today in the shape of a brand new bodypoppin' old skool mix from our very own turntable robots, The Kelly Twins. Those who've heard any of their sets in Bristol (where they are residents at best before: and Byte, as well as running their own UFO bash) Plymouth or at Dulo in Sheffield last Saturday will know what to expect - a booming selection of shit-hot old skool tuneage masterfully mixed. Sean and Dan are not known as "the robots" for nothing.

So here it is: their very first old-skool mix up: Two DJs, two turntables, one mixer, recorded live to disk in the old skool manner. No edits or overdubs - the recording is as it was when they recorded it. Yours truly was on hand to witness the recording and there was a great flow and vibe. The resultant mix is fantastic - a proper journey through old skool electro, P-funk, Miami bass, freestyle, electrofunk, 80s funk, synth-pop and gawd knows what else. Enjoy!

THE KELLY TWINS: SAY NO TO CRACK (AKA GALACTIC JAMS)

1. D.St - Crazy Cuts [Long Version](Island)
2. Whodini - Haunted House Of Rock [Vocoder Version] (Jive)
3. Man Parrish - Hey There Homeboy (unknown)
4. Donna Allen - 'Serious [Dub Version]' (21 Records)
5. George Clinton - 'Scratch Medley: Do Fries Go With That Shake?/Pleasures Of Exhaustion (Do It Till I Drop)' (Capitol Records)
6. Newcleus - Space Is The Place (Sunnyview Records)
7. Royal Cash - Radio Activity [Vocal Long Version]' (Royal Disc)
8. Tramaine - 'Fall Down (Spirit Of Love) [Dub Version]' (A&M)
9. Midnight Star - 'Operator [Vocal/LP Version]' (Solar System)
10. Two Sisters - 'High Noon' (I.R.S Records)
11. L.A Dream Team - 'Rockberry Jam' (Dream Team Records)
12. The World Class Wreckin' Cru - 'World Class [Remix]' (Kru-Cut Records)
13. Jamie Jupitor - 'Computer Power' (Egyptian Empire Records)
14. Rodney O - 'These Are My Beats' (Egyptian Empire Records)
15. Hashim - 'We're Rocking The Planet' (Cutting Records)
16. Chris 'The Glove" Taylor - 'Tibetean Jam' (Ploydor)
17. JJ Fadd - 'Supersonic' (DMC)
18. Dynamix II - 'Just Give The DJ A Break [Club Version]' (Cooltempo)
19. Omega II - 'Sonic Boom [Vocal]' (Showroom Records)
20. The League Unlimited Orchestra - 'Things That Dreams Are Made Of' (Virgin Records)
21. The Cure - 'The Walk' (Fiction Records)
22. Kissing The Pink - 'Big Man Restless' (Atlantic)

Download The Kelly Twins 'Say No To Crack' Mix >>

Visit The Kelly Twins' MySpace >>

TD Interviews… PRINS THOMAS

First of all, apologies for the lack of updates of late - things have been super-hectic in Tricky Disco land. The good news is that we're back with a bang! Yesterday we had a wee chat with Norwegian disco daddy Prins Thomas about his forthcoming Full Pupp label compilation, future plans, forthcoming projects and life in Oslo. We were going to stick it up in a few weeks time, but since Thomas told us some interesting stuff about his plans for a solo album - and what his next album with old pal Hans-Peter Lindstrom sounds like - we thought we'd share it with you. So here's the interview in full...

TD: So how are you Thomas? You seem to be very busy these days…

PT: “Yes and no. I can decide whether I want to be busy or not. I only need two factors to satisfy me – to make music and spend time with my family.”

You seem to be out DJing so much these days though…

“Yes. I can’t really take any more gigs though. It seems like my career is going well [laughs]. I would never have guessed it. Everyone knows you normally get a year or two if you weren’t established in the 90s or something, but the gigs are still there and people keep inviting me back, so I can’t be shit [laughs].”

When we get out and about we hear so many good things about your DJing. We visited Make Up in Ghent a couple of months back and Dirk - who’s also your boss at Eskimo - had a lot of nice things to say. You’re off back there next week aren’t you?

“Usually I never know where I’m going - I know where I’m going this week, but if I try and remember where I’m going in two weeks I mix them all up and I think I’m going there this week. With the gigs I try and think just a week at a time - like I know I’m going to Berlin and Ukraine this weekend. For most people that’s more than enough, travelling to two countries. I don’t know where I’m going the weekend after, but I think it’s Belgium!”

Things seem to be going well with the label [Full Pupp] - or should we say labels now, as there’s Internasjonal too…

“Yes. I never talk about figures when I talk about success. For me, I think it’s going well because I’m allowed to put out the music I like and there are always some people who are into it and buy it. But it’s not big numbers or anything.”

Yes, but selling any records at all in this day and age is very good…

“Of course. I’ve been thinking long term from the first 12” – I don’t think ‘this record must sell this number’. I don’ really mind putting out stuff I know that people won’t get. Like I just put out this Discodomo 12 that I really love, but it’s really hard for people to get into. Even people who are into the same stuff as me might not like it, but it doesn’t really matter. Long term it has to make sense when you look at the whole back catalogue.”

One of the things we love about Full Pupp and Internasjonal is that there’s always plenty of variety to the releases. Some releases you can play to a wide variety of dancefloors, while some of the others are brilliantly strange and specialist. Is that a fair appraisal?

“I think that’s up to the listener or buyer to decide - I never really think about it. Almost everything I make now - or have been making the last couple of years - I don’t sit down and say “right I’m going to make a dancefloor track”. I may have a vague idea, but in the end I often can’t make up my mind. I might put out some 12” tracks that 99% of people might think ‘you can’t put this out as a 12” track’, but I don’t care. It’s up to the listener. Maybe some of the tracks I pick as personal favourites that work, and maybe some are personal favourites that don’t work, but it doesn’t really matter.”

Internasjonal was set up to put out non-Norwegian stuff wasn’t it?

“Yes…generally. I’m not saying there’s never going to be Norwegian stuff on there as well - I’m already getting some remixes from friends here of Internasjonal stuff - but the plan was not to fuck up the one good idea I had for Full Pupp, which was to release my friends’ stuff and keep it in the family.”

That’s what gives Full Pupp a unique identity. Because the releases are all from Norwegian artists it gives people a focal point for what’s happening in Oslo…

“It’s our one selling point, besides the fact that I think the music is great. Like you said, although there is lots of different stuff coming out it tricks you into thinking that there’s a unity to what’s happening. At the time when I started my first label Tamburin, which was 2001 I think, I was just fed up with everyone complaining that there wasn’t anything happening in Norway. Everybody was working on there own and everybody sent out demos to English labels and Americna labels. They wanted to be identified with, say, Paper Recordings or whatever, but in the long term that doesn’t give anything back to you as a producer or the Norwegian ‘scene’, if you can call it that. The only thing you’re contributing to is another catalogue number on Paper or whatever. So one of my ideas was to hopefully in time build up something that would make people look to Norway for exciting stuff and maybe get more excited about making stuff here, which I guess it has, together with what Hans Peter [Lindstrom] has been doing. Obviously there’s been stuff before in Bergen, but that had very little to do with what was happening in Oslo. It was inspiration wise - people like Erot and Bjorn Torske meant a lot to me personally and inspirationally, but what was happening in Bergen was very hyped. A lot of people jumped on the bandwagon and wanted to be part of it. At the same time people started like slowly making music here in Oslo, but there was never any hype surrounding it.”

Until we came over and hyped it up in iDJ magazine last year…

“Yeah. The press have managed to hype it up a bit, but at the same time it isn’t dead yet!”

Well, we tried to be realistic about it, be enthusiastic but say that it is a relatively small bunch of people and only a few clubs. One of the things yourself, Per Martinsen and Strangefruit were saying last year was that it may look from the outside like there’s a lot going on, it’s only a relatively small thing. However many people there are, it’s still exciting…

“I know there’s a lot of stuff that wouldn’t have happened or been noticed if it hadn’t been for me, Terje and Lindstrom having more success. A lot of people who gave up a long time ago and said ‘I’m not going to put out 12”s any more, there’s no point in doing it’ have got back into it. I’m not saying we were the first to do it, but what we did was show people that it is possible to get your music out and get gigs if you work hard at it. With most hype, people can sit in their studio, make a single and become part of a wave in some city somewhere. Here, people actually work - most people at least - hard. For me, it’s a 9 to 5 job now. I still enjoy it as much as before, but I’m going to the studio 10 till 3 or 4 Monday to Thursday. If I’m going somewhere on Friday then obviously I’m not going to the studio, but then traveling at weekends, back on Sunday or Monday and straight back to the studio again.”

The last few years have been pretty productive for you with solo stuff, remixes and the stuff with Hans-Peter. What are you doing studio wise at the moment? We know you’ve been doing another album with Hans-Peter…

“Yes. We’ve finished the album for Eskimo, but have no idea when it’s coming out yet because we have to wait until Hans Peter’s album is out. We made a point of not rushing anything. Eskimo heard the first tracks from the album three weeks ago - until then they’d not heard anything since the last track from the ‘Reinterpretations’ album.We made so many tracks - there’s probably 180 minutes of music. We’ve chosen roughly 76 minutes for the CD and then all the other stuff we’re trying to work out what to do with it. It might be two CDs coming after each other, we’re not sure yet. There’s also quite a lot that needs doing if we’re going to have a 12”, because the album is 95 per cent live - us playing live in the studio.”

So it’s a bit of a progression from the first album then…

“You could say it’s a progression or a regression! I don’t know!”

You’ve got back to your live roots then…

“In a way, but at the same time I feel it’s definitely going forward. With the last album we tried to make an album - now we’ve made an album. Nothing was planned, everything was based on what we played in the studio. It came naturally, although we tried to give each other some kind of limitations, like trying not to start working with MIDI stuff to early in the process. As little as possible syncronized stuff - most of it should be live. That’s one thing. I’m also working on my own - in the last few months I’ve more or less come up with an album of my own stuff, so there’s definitely going to be a couple of singles from myself on Full Pupp and most likely an album sometime next year. I’m also spending a lot of time co-producing stuff on both labels. A lot of the stuff I get sent now is demos. Instead of passing it back and forth, people ask me if I can mix it down, which suits me fine because I work really quickly when it comes to stuff like that. Some stuff I get sent completely finished. We’ve just mastered the full Windsurf album…:

I bet that’s good - the E.P was very good…

“I think the album is better. It’s probably easier to get the 12” the first time because it’s only four tracks to listen to. Now you get a bunch of other tracks and they’re all quite different to each other. To me, it’s just like when I’m listening to some of Hans Peter’s stuff - they use quite a lot of unusual chords and chord progressions. It’s not just major minor chords. If you listen to most of this cosmic stuff it’s basically just a groove, a few loops and some boring samples.”

Certainly, it could be argued that there’s a lot of stuff coming out in the cosmic/nu-disco sphere that’s getting very cheap and predictable…

“Yeah. It’s a really cool combination - some cool drums and some funky bass and some echo - but at the same time I hear all these tracks coming out which sound like a really bland version of what I’m getting bored of myself. At the same time it’s kind of strange, because for me naturally because personally I’ve gone on to do other stuff. There are always people who expect you to ‘flog the dead horse’ or whatever, otherwise you’ll turn your back on what you’ve created.”

That old thing of “I’d like a remix - can you make it like that one you 18 months ago which I liked’…

“Yeah! But hey, that’s life. I’m not in the music industry, I’m making music. It’s funny - the most positive feedback for the Windsurf stuff came from James Holden. I think that says a lot. You have all these nu-disco producers who were saying ‘I don’t like it - I can’t play it’. But then you have these people who you think are blind musically because they only play techno, they’re the guys who actually picked this up.”

If you expect that every release that Full Pupp or Internasjonal puts out will be a certain tempo and style, then you’ll be disappointed, but that was never what either label was about…

“Yes, but it would have been good if people actually listened to the music instead of talking about it. And I’m saying this to a journalist… [laughs]”

Coming back to the new compilation, how did you settle on which tracks to put on ‘Greatest Tits Vol 1’, because not everything you’ve released is on there…

“The criteria I used was that it had to show some of the variety of the label. I wanted to pick an interesting 80 minutes rather than a bland CD of samey sounding stuff, and not just play all the obvious stuff. None of the biggest sellers are on there - neither Todd Terje’s ‘Eurodans’ or my ‘Fehrara’ are there, for example.”

We were quite excited to see that there were quite a few unreleased tracks on there…

“I think you’ve got to do that or otherwise it’s just a cash in [laughs]. To me, it’s like I’ve been doing the label for quite a long time now. For me personally it feels longer than three or four years, because I did the other label and worked with some of the same people on that label. Full Pupp is a continuation with what I did with Tamburin. I felt it was just time to do a round up, because when we started the label we planned one release at a time and things went quite slow - it was always a few months between singles, and people were asking all the time ‘have you wrapped it up or is anything coming again?’ Now the schedule is pretty tight. Also, people have been asking to get the old tracks digitally, so this is a way of getting some new listeners…”

And reward the old listeners as well…

“I think it’s a pretty good package anyway if you’re into that sort of music, because there’s some stuff on there you won’t be able to get in other places. There are some unreleased tracks and also some older, really obscure tracks from the first label.”

‘Prins Thomas & Full Pupp present The Greatest Tits Volume 1’ will be released on July 21

Daly Edits

Fast-rising deep house producer John Daly (Feel Music etc) has started a new blog called Doublewide Edits, where he'll be posting various sneaky re-edits and reworks he's done over the years. The first edit, of Santana's 'Bahia', is a rather nice piece of summery goodness. Head over to the Doublewide blog now to check it out:

www.doublewide-edits.blogspot.com

Incidentally, John's also just completed an excellent remix of Toby Tobias' 'The Feeling', which should be out on Rekids shortly. Keep an eye out for it!

Bank holiday craziness

Just a quick few lines to thank all those who made it down to our best before: Bank Holiday bash at Timbuk2 in Bristol on Sunday. It was arguably one of the most atmospheric, electrically-charged parties we'd done - despite the crushing, last-minute news that our headline guest Andy Butler (from Hercules and Love Affair) had cancelled due to record label commitments in New York.

Obviously we were gutted about this, and the last minute notice we had gave no time to source an adequate 'headline' replacement. In the end, though, it all turned out fantastically well, with nearly 350 people (pretty much capacity) joining us for a memorable party. Both the main room - decked out with a suspended balloon ceiling, complete with flashing lights inside selected balloons, mirrorball and strobe - and second room were rocking throughout the night. In the second room there were brilliant sets from Al Dare, The Kelly Twins (who once against proved they're amongst the best party DJs anywhere) and Bernie & James L, who finished the night off in riotous fashion. Meanwhile, major props to Placid and Legendary Tone & Dan Donnachie (down from Leicester for the craic) for playing brilliant sets in the main room. Yours truly finished off, playing a mix of classics and unknown gems. One particular bloke was so appreciative of my selections he gave me a full-on kiss. It was that sort of night!

Thanks again to all those who headed down. We'll be back with more big parties later in the year, and will be continuing our residency at The Bank. Watch this space!

Come Feel Space

This Thursday (17th April) sees the launch of I Feel Space, a new night for Bristol dedicated to all things cosmic, Italo and discoid.

It's the work of a group of DJs and music enthusiasts headed up by SugarTits (or Carlie Dragone as some of us know her) and promises a mix of quality music, fabulous decor and proper disco hedonism.

For the first party, yours truly is the guest. I'm hoping to kick things off with a bang - expect a mixed bag of tricks from across the disco spectrum, with a few Balearic bits thrown in.

For those of us in the West who've long complained about the lack of nights (best before:, Tricky Disco and TAPE excluded) playing this kind of music, I Feel Space is an exciting development. I'd encourage everyone to come down and support it - it is only four quid in after all. Full details below…

I Feel Space presents Cosmic Disco
Thursday 17th April @ Native (Small St, Bristol)

Cosmic, Italo, nu-disco, jackin' techno and shimmering electronics with DJs

Sell By Dave (best before:/Tricky Disco)
SugarTits
Tina Turntables
James L (Wriggle/Wonky)

10pm-3am. £4 door tax. Decor by Fraser Cook ("bringing the exhibition to the club and the club to the exhibition")

Saturday night fever

Just thought we'd drop by a mention a couple of things happening in Bristol tonight, for those who fancy heading out for a few beers and a bit of a dance.

First up, there's the latest instalment of our weekly residency at The Spotted Cow in Bedminster (139 North St - formerly 139 Degrees North). As usual, it features Thumbs Aloft behind the decks, this time joined by our good friends The Kelly Twins. For a special treat, we've also roped in the Futureboogie DJs (Joe 90, El Harvo and Steve Bongo) for an extended session of pub-disco fun. It all starts around 9pm, and goes on til 1 ish. Should be a blast.

Bedmo Disco @ The Spotted Cow
Saturday 12th April 2007. 9pm-1am.

With DJs THUMBS ALOFT (Pointless Edits), THE KELLY TWINS (UFO), JOE 90, STEVGE BONGO & EL HARVO (Futureboogie)

Also taking place tonight at the intimate Tube venue on Unity St is We Don't Play's fourth birthday bash. We Don't Play is the brainchild of former Replay Records man Ben Parker, alongside Snafu, Kasparov and others. To help them celebrate four years of party-starting fun and frolics they've invited TAPE founders and best before: ressies Richard Carnage and Puffin Jack to play. Those who attended the best before: fourth birthday bash in November will know just how good these guys are when smashing it out in party mode, meaning this should be a night to remember.

We Don't Play @ The Tube
Unity St, off Park St, BS1. 10pm-4am.

With DJs RICHARD CARNAGE & PUFFIN JACK (TAPE), BEN PARKER, SNAFU and KASPAROV + surprise guests

Whatever you get up to this weekend, have fun :)

Hip hip hu-rave!

It's been bleedin' yonks since we waxed lyrical about some top forthcoming releases, and it's about time we put that right. So, without further ado, here's some thoughts on new, forthcoming and classic music we've been digging lately here at TD Towers...

Surkin - 'Next Of Kin E.P' (Institube, France)

The prize for the biggest surprise of the week goes to French scenester Surkin, whose previous releases have been championed by lots of people in day-glo face paint, tight jeans and sunglasses. Indoors. Cynicism aside, his forthcoming 'Next Of Kin' E.P (out on Institube on May 26) features a cracking old skool banger in the shape of 'White Knight'. Sounding not unlike Inner City on steroids, it's got a deliciously authentic 89/90 kind of feel – think 'Big Fun' riffage, soaring synth strings and rush-inducing pianos. Thankfully it keeps the predictable French filtered beats and sub Ed Banger synths to a minimum, instead showcasing a cut-up-to-buggery vocal sample from Sir Piers' 'Special'. It really is rather good, and we're pretty sure it's going to be massive. Incidentally, the rest of the E.P is pretty bog standard sub Justice fare, with 'Next Of Kin' sounding like a needless re-hash of 'D.A.N.C.E'. Still, one out of four isn't bad.

Gameplayer - Beirut Disco (Gameplayer, Belgium)

Next we'll turn our attention to more traditional Tricky Disco fare, and a pair of cheeky edits/reworks from Ghent's Fredo & Thang, residents at the city's Make-Up Club (currently co-owned by Dirk from Eskimo Recordings, and one of our favourite clubs). They're terrific DJs, by the way – open-minded mash-up merchants in the mould of the Glimmers – and have now made the leap into production. Their first 'hush hush' 12" is due to drop any day now on their own Gameplayer label. The lead cut, 'Beirut Disco', is the killer. Somehow, they've managed to turn a strange, gypsy influenced folk track from New York's Beirut into a record that works on the dancefloor – all sympathetic beats, nagging organ and dubbed-out effects. When the original vocal, bassline and fiddle drops, you'll be dying to sing along. It's very good, and sounds ace in a club. If that wasn't enough, they've gone all Balearic on the flip, extending a particularly blissed out Henri Texier track. Good work, lads.

Henrik Schwarz & Amampondo - I Exist Because Of You (Innervisions, Germany)

This has been getting plenty of play from house DJs we like - not least Innervisions boss Dixon - and it's easy to see why. The original 'Henrik Schwarz Live Version' is lush, soaraway deep house with a surprisingly good 'world music' style vocal. And marimbas. In true Henrik Schwarz style, it's a good ten minutes long, but packs in a lot of action. Hell, it's even got a great bongo breakdown and a super-Balearic build. Dixon provides a chunkier, stripped down edit that concentrates more on the superb bassline, spun-out riffs and vocal. Another great Innervisions release, all told. Excitingly, the next release on the German label is rumoured to come from Laurent Garnier, which is said to be "very old skool". We can't wait to hear it.

Michocan - Opiate Opus (Tiny Sticks, UK)

Not sure when this is out, but it's been stuck on our hard drive for a few weeks so it must be soon. While it's not the best Tiny Sticks release we've heard (and they're usually very good), it's still worth a listen - not least for the druggy analogue vibe of Michocan's nu-disco original. We'd recommend heading for Nick Chacona's remix, which continues his recent trend of fusing MDMA-friendly nu-disco with floor-friendly house. He's been in good form lately, and this is another fine rework. Most playable, and gert lush to boot (as they'd say down Bedmo).

Mental Overdrive - You Are Being Manipulated (Smalltown Supersound, Norway)

Mental Overdrive man Per Martinsen is arguably the granddaddy of the Norwegian nu-disco scene, having been knocking out electronic music - both on his own and with partner Aggie as Frost - since the early 1990s. In fact, he used to work as an engineer for R&S Records and released a number of Euro-techno numbers for the legendary Belgian imprint. Over the last few years he's put out odds and ends on his own label, Love OD Communications (named after one of his R&S tracks, fact fans), as well as contributing bits and pieces to Smalltown Supersound and Prins Thomas' Full Pupp imprint. 'You Are Being Manipulated' features some of these well-known nu-disco gems ('Spooks', the bass-heavy 'Original Material' and his genius electro-disco cover of Iron Maiden's 'Run For The Hills') alongside a series of bleep-heavy weird-outs, analogue housers and deliciously wonky disco gems. One track, 'The Rage', sounds like Lindstrom & Prins Thomas after too much ketamine. It's rather fine all told, and out towards the end of May. We'll be having a chat with Per later, so expect a wee interview up here sometime soon.

Fabrice Lig - Puple Raw Part 1 (Versatile Records, France)

When Versatile boss Gilb'R came and played for us in Bristol a few weeks back, he enthused no end about this E.P, telling us Fabrice had put together a record that had "out Detroit-ed Detroit". Having scurried away to check it out, we have to agree. Lead cut 'The Track' is particularly good, sounding not unlike the Motor City's finest with a subtle European twist. It's techno with soul – the sort of thing Carl Craig would make if he was a lovetorn Parisian dreaming of a honeymoon in space. Lig has been making some great music lately - his Soul Designer rework of Chymera on Delsin being one superb example - and has a new album on the way. We can't wait to hear it. Incidentally, B-side 'The Riff Pourpre' is also superb, this time taking a more midtempo electrofunk approach. Proper machine funk, basically - we like. It's out now, so head over to your online record store of choice and check it out.

Disco Deviance - Don't Let Go/Ivan [PH Edits] (Disco Deviance, UK)

Following hot on the heels of their recent Ashley Beedle edits 12" comes another double-order of disco edit goodness from the Disco Deviance camp. This time round, the edits are provided by Pete Herbert (though we didn't tell you), who takes time out from LSB and Reverso 68 duties to serve up a pair of summer sizzlers (yes, we know it's still spring). Choose between the sweet, midtempo Balearic disco of 'Don't Let Go' (all shimmering orchestral sweeps, semi acoustic guitars and chunky bottom end) and the strings-n-analogue bass of the equally E'd-up 'Ivan'. Reach for the sun! Again, we've not got a firm release date, but expect 12s in stores in the next few weeks.

Chromeo - Fancy Footwork (Backyard, UK)

It seems that the indie kids, hipsters and plastic nu-ravers have finally cottoned on to the genius of Chromeo. To be fair, it's taken a while - when we first started championing the duo (both in our sets and in the music press) they were still signed to Turbo/V2 and seen as something of a novelty. It's great they're getting recognition at last, though we could do without the endless stream of kiddie-friendly student rave remixes Backyard are serving up. This "official single release" of 'Fancy Footwork' features remixes from Guns 'N' Bombs (rock-rave cobblers), Kissy Sell Out (actually not atrocious, but still dubious), Crookers (Jesse Rose goes bassline house - actually better than it sounds) and Russ Chimes, whose recent mix of Sam Sparro's 'Black & Gold' was thoroughly rancid. His version of 'Fancy Footwork' is an odd beast; starting off sounding like a mid ’80s Solar System release (think the Whispers or Midnight Star at their poppiest), it eventually turns into a screeching mess of electrohouse synths. Ouch. Not quite nul points, but Backyard, for chrissakes get some good remixers!

Right, that's enough gibberish for now. Expect more soon though :)