This radio show feels very raw to me, as if the comforting ambient techno in my previous sets has suddenly been torn away. But that's not to say that there aren't occasional moments of levity.

Recent 2021 events in Bristol, only a mile from my house, undoubtedly impacted on this music. I was struck by the way that the police brutality meted out to protesters supporting the right to protest and travellers rights echoed the Criminal Justice Bill of 1994. Whilst the beats on this aren’t quite non repetitive (as per protest records in that era) there was certainly an angry upstart energy of filling up a couple of machines with patterns. “Filling up a machine with patterns” is the creative choice of most of my closest musical friends.

The choice of a well-known Bristol landmark for my drawing is deliberate. Can the pastoral and nature be reclaimed by people fighting oppression or is it now firmly in the grasp of reactionary forces? Can the natural world and the pastoral provide solace to all weary souls? Do these landmarks have an existence outside of a branded image of Bristol?

To what extent does the gorge act as a metaphor for a deep wound? Is there beauty beyond the sadness?

One great balm for sadness is, of course, sub bass. It not only provides a heart beat feel but it is anchoring and it literally roots you to the pavement as it shakes. That is why I have chosen sub bass as the main source of balm in this radio show. I had many happy days out at St Pauls Carnival being enveloped by the warm sub bass. The sub bass is both cavernous and chasmous. Another aspect of space that I have explored in this show is drone music. This sense of needing time to stop and slow down, to stop the noisy din of hyper notification stimulation, to lean into difficult emotions rather than avoiding them.

The personal is not just political but there is a synergy between our own inner world and the worlds around us and memories. Many of the positive memories that feed in to this show are from the mid 2000s and of going to raves in Bristol with friends and after parties at my house where talking non-linear shit was the default. I was foolish to think those times would last forever. One of my friends who used to come to Bristol a lot during those times, Chris Marshall, is sadly no longer with us and I will always miss the gruff Essex warmth that he brought to proceedings.

When you are on the Bristol Clifton suspension bridge, you get a real sense of looking over Bristol a bird’s eye view. In a similar way, this show is also an overview of the last 10-15 years for me. As such it takes in a variety of musical influences and attempts to synthesise them together into a coherent narrative. One of the things I am proudest of on this radio show is the ending. I really like the way that the ending is unclear and unconclusive as to where the future will lead.