Meta Junction is a community of London-based electronic musicians and progressive experimentalists working with with classic hardware and innovative software.
The community’s output mixes a wide range of styles uninhibited by arbitrary labeling, marrying digital communication and new technology with analogue music production methods. Meta nurtures innovation and the characters of Meta Junction are a broad pallet - an inclusive mix of music makers and talents to enhance the electronic spectrum.
Realised by seasoned producer Phelan Kane, the Meta sound was born from an obsession with vintage analogue Moog, ARP & Oberheim synthesizers, modular systems, classic effects units, dub production techniques and a big arse Calrec mixing desk that takes the output way out of the box – with a nod to the classic sounds of the electronic trail blazers and confirmation that the computer is only one part of the production mix.
From an early age Phelan Kane has been a purveyor of electronic music. Visiting the legendary BlueBird records long before UNKLE’s James Lavelle, Phelan soaked up the latest hip hop and Go Go releases in the mid '80s that led to ardent following of the likes of DJ Froggy and Pete Tong in Blues & Soul magazine.
In 1987 Phelan was introduced to the Chicago & Detroit sound and the legendary Tony Humphries KISS FM radio show on a trip to New York, while back in the UK the emerging underground sound ushered in likes of Jazzy M’s Jacking Zone on LWR Radio, KISS FM, Centreforce, Phantasy and the legendary parties held by MFI, Sunrise and Genesis.
Ever a devotee, this obsession continued through the next twenty years or so of rave culture and all its associated web of genres and styles, from the birth of Drum & Bass, the invention of Tech House & the early DMZ Dubstep parties.
By the late '90s, after graduating from Islington Music Workshop, the same engineering school that gave the world Grammy winner producer Paul Epworth, Kane was engineering and programming professionally and over the next decade clocked up a formibale roster including Placebo (Pure Morning, Every Me Every You, 20 Years), Witness (Before the Calm), Dido (Here With Me remix), Amanda Ghost (Ghost Stories), Snow Patrol (Starfighter Pilot), Elastica (Mad Dog), Aziz Ibrahim (Our Fold), Alabama 3 (Too Sick to Pray), Deus (Ideal Crash remix), Fangoria (El Extraño Viaje), Das Pop (I Love, The Human Thing) & Lalalover (Heliotropic).
In 2001 Phelan worked closely with pioneering synth Mute recording artist, the late great Fad Gadget a.k.a. Frank Tovey. playing an instrumental part in Fad Gadget's support on Depeche Mode’s 2001 ‘Exciter’ tour and as part of the Fad Gadget band, performing at Euro Rock in Benelux and Wembley Arena.
Around this time Kane also began teaching his cutting-edge production techniques at Tech Music School, London where, in 2001, he taught Radiohead members Ed O'Brien and Phil Selway and in 2006 he completed a Masters degree in Audio Technology. He also became one of the first wave of Ableton Certified Trainers in 2007 and Kane has recently embarked on the path of Digital Audio DSP with study for a second Masters in Digital Music Processing.
Phelan Kane's sound is a seamless mix of analogue and digital thump, a collage of modular synth, outboard effects, plug-ins, mixing desk and computer - a mix of FX and sounds cut on the fly. This is the audio soundtrack to a psychedelic biomechanical future.
By consistently misusing electronic musical hardware, Mole Vanity aims to put the experimental back into electronic music, under pinned by a robotic groove. Mole Vanity is propaganda for a state of mind.
Born out of an obsession with pushing the boundaries of electronic music beyond the 21st Century, Lag delivers an analogue and digital meld of weaving melodic contours and intricate rhythmic content. An unfolding future shock of audio evolution, Lag re-defines the electronic blueprint.
Ripping up the blueprint for the so called future techno sound, Inpuht takes soaring squelch lines and marries them with melodic overtones, warm bass and shuffling beats. Welcome to the next era of Techno, where the music wears its heart on its sleeve, has a grin on its face and preconceptions are left away from the dance floor.
Ollie Torr is a musician, music producer and DJ from Prague. He is currently supported by the likes of RedBull, Puma and Jagermeister, as well as being a core member of the Bass Drop crew that is currently holding down the scene in Prague, a part of the infamous Life is Porno crew, and works with the PVP music label. His production and electrifying stage performance has got him sharing line ups with world class artists such as Foreign Beggars, Borgore, Baauer, Kendrick Lamar, Noisia, De La Soul, Fatboy Slim, Bloody Beetroots, Cyberpunkers, Cooh, Balkansky, to name but a few. He has appeared in many czech press articles, and has had a hit in Slovakia collaborating with legendary musician Miro Zbirka. Ollie often features on czech FM radios such as Expres radio (where he is a regular of bass music show Rezonator), Dance radio and Spin radio, and has also had his own show on MTV cz (Party Zone by Ollie). He has created sound and music work for companies such as Pepsi, Hugo Boss, Nydrle and countless others.
Accessible yet elusive, -Calc-‘s music is a blended fusion of analogue and digital; throwing at the listener sonic challenges without them even realizing it. A bouncy sensibility gilded with menacing grit charges his sound with a dynamic and invigorating temper, nodding heavily to the past but winking cheekily to the future.
Rumoured to be the in-vitro love child of Miles Davis, Phillip Glass and John McCririck, the child Phink was monstrous and eventually adopted by Amish parents at the age of 43. As a teenager he developed an addiction to gobstoppers and finally found his voice after an embarrassing accident. The young Phink was saved by a revolutionary plastic surgeon, who performed a unique combination of skin grafts and analogue hardware. Phink's face was saved but he still has to live with a cumbersome 15 oscillator synth in his neck in place of his voice box.
Multi-instrumentalist from Guernsey via London, Noole has been involved in the electronic music scene since the late 90s as a producer, programmer and DJ. A self-confessed editing fanatic and all round gear head, Noole mixes abrasive glitchy rhythms with playful melodies and field recordings to create ambient noise pollution. 2014 is the year he shares this pollution with the world.
The term eclectic is oft over used, but where Flexagon is concerned it’s an accurate statement: since the mid 90s Flexagon has been playing music from ambient straight through dubby US garage and into Goa. With an ear to setting a positive mood and turning people on to new and interesting music, Flexagon’s trademark is starting out easy with an eye to directing people straight to the floor. Within the Guernsey-based producer / DJ’s prolific output you are always guaranteed to hear something new.
The sound of the community is influenced by the likes of:
Kompakt, Matthew Jonson, Robert Hood, UR, Matthew Dear, UK M25 Orbital Parties 1989, Drexciya, Traum Schallplatten, Phuture, BPitch, Juan Atkins, Derrick May, Kevin Saunderson, The Congos, Jeff Mills, Rhythm & Sound, LTJ Bookem, Booka Shade, Gui Borrato, Drumcode, Hyperdub, Richie Hawtin, DMZ, Punks Jump Up, Robert Ownes, Harmonia, Cornell Campbell, Jazzy M's Jacking Zone on LWR 1988, Cluster, The Orange Club @ Camden and the Rocket 1990, Johnny Clarke, DJ Rolando, Raindance @ Jenkins Lane 1989, Ron Hardy, Ian O'Brien, Horace Andy, Steve Reich, NEU, George Clinton, Kraftwerk, CenterForce 88.3FM 1989, Robert Rich, Tony Humpries on KISS FM NY 1986, Joey Beltram, Steve Roach, Phillip Glass, Marshall Jefferson, Ian Pooley, Ian Boddy, Carl Craig, Apple, Ableton, Moog, ARP, Oberheim, Roland, Waldorf, Kyma, Meta Synth, London, Berlin, Detroit, Koln, New York & the late great (& dearly missed) Fad Gadget.
For Remixes, Live performances or DJ bookings email:
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Meta Junction Recordings’s tracks