MOLE & AYA

More Boom For Ya Box mix comp released
Out on November 5th!

Magazine reviews

Bijou BreaksThis release is a serious cause for celebration. It represents ten years of top notch releases from Boombox Records, ten years of uncompromising quality, and – just as importantly – ten years of giving the newer producers out there an indispensable foot up the proverbial ladder. These producers include several names that are ubiquitous today, such as General Midi, Friendly, Stabilizer and Nubreed. I really can’t overstate the importance of labels like Boombox to the health of the breaks scene, with their original altruistic aim of helping the little guy become the big guy, still very much intact. No better example of this than Sifter & Adan (the latter of whom is also a very skilled writer, as you would have seen in his reviews for Bijou). The duo is beginning to make serious waves in the breakbeat world, and deservedly so. And so to the mix… You’ll notice the inclusion of release dates in the tracklist below. You’ll also notice the diced-up chronology of their arrangement, which for me points towards three important realisations: (1) The forward-thinking, almost timeless nature of breaks, in that tracks of such varying ages sit so snugly side by side, (2) the unerring quality displayed by the Boombox imprint throughout the past decade, and (3) the astute track selection of Mole & Aya, whose slick mixing skills make for a wicked and complete ride through the ages, sewn up in just under 55 minutes.
I highly recommend this CD compilation by Mole & Aya, stand in firm admiration of what it represents, and extend my warmest congratulations to Boombox on ten years of invaluable work. Keep it up!
BPM (US)Being at the forefront of the breakbeat movement since its inception, it's no wonder this mix can be viewed as a timeless and genre-defining event in electronic dance music. A true and proud representation of the breakbeat sound
NotionFounded in 1996 and one of the UK’s longest running labels in the field of breaks, BoomBox Records has always remained dedicated to releasing quality, quality music. To celebrate ten years in the breakbeat biz, ‘More Boom For Ya Box’ offers 17 tracks that really show off BoomBox’s knack for putting out future classics. There is no doubt that Mole and Aya have dug deep into their back catalogue for 60 minutes or so of classics and my gosh, has it worked well! After a comical intro it all kicks off with JB’s re-edit of ‘Who Da Fuck’ by Semi-Detached, an eleven year old track which still manages to sound box-fresh. You’re broken in by a couple of warm-up tracks, then, predictably, the thumping breaks for which BoomBox is known for takes over. There’s a bit of an electro flavour in there and a few darker tracks that will catch many people off guard. A 1999 release for none other than beat guru General Midi has a bassline to melt everyone’s butter with ‘The Westerner,’ while the notorious Mr Nubreed is on board for beat duties for the final last stomper. This saucy mix of old and new and light and dark will ensure a wide range of people enjoy this compilation. My only gripe is the lack of a second disc: it would have been interesting to have Mole doing one and Aya the other…but hey, I’m happy! OW
M8Mole and Aya, label owners take us on a musical journey through the Boombox annals. With tracks dating back ten years from some very notable names in the breaks scene, some of whom were, then just starting out. This is a very tasty little mix cd indeed with plenty of styles of breaks in the 53 minutes, keeping things fresh and interesting for the listener at all times and showcasing the label's high level of quality control. There's an overriding linear electro feel to the early part of the mix which starts to wind up a bit with a distinctly old-school hip-hop slant to the breaks and general attitude. Things then start to take on an altogether more ‘modern' disguise by stripping back the beats, slinging in a few glitches and expanding the sound into more cinematic territory. Standouts are the excellently, sleazy electroid bass filth from Slung Groove - Kick Flip - (Laidback Rmx) complete with its unexpected funky 70s flavoured edits, General Midi's ‘Westener' and later in the mix the Rio Rhythm Band ‘Carnival De Casa'- (Christian J Rmx) kicks in and the party erupts. Excellent tight production, a rasping, seared bass and 4/4 beats sprinkled with generous amounts of sexy, sultry Latin, full bodied samba attitude. A complete, rounded mix that takes in a lot of styles.M6.5/ M8
DJAnother label passes the decade mark, so it's a trawl through the back catalogue for mix-tape highlights. Bridging the divide between electro, b-boy-tinged breaks and even the occasional 4/4 it's a consummate mix that provides energy and dynamism in equal measures.
FluxThe BoomBox label has unleashed its fair share of blistering low-end over the years. This mix celebrates ten years in the bizz by having Chew The Fat chap Mole and Japanese jock Aya string together some of the imprint’s most distinguished pearls. Tracks from Semi-Detached, DJ Crow, General Midi, Sifter & Adan and Digital Breaks Foundation were built to traumatize dancefloors, and they still do so now. Killers.
Twenty 4 SevenBreakbeat mix from 90s to present, featuring highlights from the label, with plenty of variation in style. One regular theme here is upfront, with nothing too dark or messy. My favourite track is “Bassline”, the superb dubbed out acid corker from Semi-Detached, who also provide opening track “Who Da Fuck”. Bring on the summer, innit. 9/10
Update With tracks dating back ten years from some very notable names in the breaks scene, some of whom were, then just starting out. This is a very tasty little mix CD indeed with plenty of styles of breaks in the 53 minutes, keeping things fresh and interesting for the listner at all times and showcasing the label’s high level of quality control. Standouts are the excellently, sleazy electrode bass filth from Slung Groove – Kick Flip (Laidback Rmx) complete with its unexpected funky 70s flavoured edits, General Midi’s ‘Westerner’ and later in the mix the Rio Rhythm Band ‘Carnival Da Casa’ – (Christian J Rmx) kicks in and the party erupts complete, rounded mix that takes in a lot of styles. 4/5
Apply The BreaksBoom Box the label that has helped launch the careers of household names such as General Midi and Friendly is celebrating 10 years this year with a tour and the release of this mix compilation of their best selling tunes of the last 10 years. A collection of genre defining tracks, that have featured in the boxes of the major players, this is great listening material, and a perfect summary of the labels history. 8/10
One Week To LiveA retrospective of all of the BoomBox label’s finest moments since 1996. Mole & Aya’s future funk is propelled by plenty of hip hop samples and touches like old school rave drum breaks. Paying attention to the traditional musical journey arrangement, the pair ease into the mix and slide out of it just as comfortably. The ‘Boom’ gets going with the plodding Death Star menace of Semi-Detached’s ‘Who Da Fuck’, and finds a compatible opposite in Nubreed’s ‘Neptune Beach’ come closing time. Breaks dressed in chillout’s clothing features rippling waves and fresh air against distorted bass. The blood and guts of the mix never seems to explode. It imposes its authority clinically, regularly showing its teeth and threatening to boil over. But it’s a shipshape process that isn’t really grabbed by the scruff of the neck. ‘The Only Thing’ by DJ Crow, taking its cue vocally from Funkey Lovers’ ‘Pussy Lovers’, hints at such a flare-up with bass-powered drive, carried on by Sifter & Adan’s ‘Heyflicker’. Swells of tracky synth filters and incisive basslines are provided by General Midi and Don Diablo, whose rather pumping ‘Down The Drain’ creates breaks’ own version of ‘Another One Bites The Dust’. The surround sound snake ‘Come Closer’ by Digital Breaks Foundation embodies the breaks patent, adjusted by Sifter & Adan’s mix of DBF’s ‘Way Back’ so it can open its stride onto a 4x4 floor. There’s a dub flavour to Semi-Detached’s ‘Bassline’, and Friednly’s ‘Greedy’ sounds like Jabba the Hutt clearing his throat on backing vocals. All contribute to making first-timers understand BoomBox’s ultra consistency. Though Mole & Aya’s mix doesn’t show off, it’s worth 55 minutes of your time
base.adCelebrating ten years of one of breakbeat’s most respected labels, this mix brings bassbin-bustin’ wreckage, showing us not only the devastation, but also the diversity that BoomBox records, and breakbeat as a whole, is capable of. From street beats to deep spacey tech, It’s clear just how much the scene has evolved since its inception in the mid to late nineties, continually taking influences from throughout the dance spectrum, with more than a nod to hiphop, electro, and house among many others. The compilation kicks off with a solid 21st-century remix of the labels first release, ‘Who Da Fuck’ by Semi-Detached. Digital snares bounce around with an all-powerful, dark, synchopated bassline; it doesn’t rest for long through, as label boss Mole and his Japanese cohort Aya soon get nostalgic with some breakdancin’ old school party jump-up, rave lines and retro drum machines, including General Midi’s ‘The Westerner’. Then onto more slamming, full-pelt territory that evokes 4am in Fabric, not knowing which way is up. Pounding kicks drive holes in the floor with almost nauseating room-filling buzzsaw leads screaming “danger overhead”. There’s deeper stuff as well, with False Prophet’s narcotic ‘Who Da Fuck’ remix and its extremely simple, effective power. Again, this is more a display of the label’s best releases than a coherent mix that develops throughout, and each track brings a separate mood. Ethereal textures look towards the future at the album’s close. I would have liked to hear a bit less chopping and changing of styles, and instead perhaps an arrangement which adds another level to the compilation as a whole. Having said that, this album is packed full of cracking tracks, and it’s a fitting tribute to the collective and its artists alike.
ATMWith tracks dating back ten years from some most notable names in the Breaks scene, some of whom were just starting out, this is a very tasty little mix indeed. Packed with plenty of styles of Breaks, it keeps things fresh and interesting for the listener at all times, showcasing the label’s high level of quality control. Standouts are the excellently sleazy electrode bass filth of the Laidback remix of ‘Kick Flip’ by Slung Groove, completed with its unexpected funky ‘70s flavoured edits: General Midi’s ‘Westerner’; and later in the mix Christian J’s remix of the Rio Rhythm Band’s ‘Carnival Da Casa’. A complete, well rounded mix that takes in a lot of styles.
ASPECTO "DOOF" (FORCE MASS MOTION REMIX / ORIGINAL) IS OUT NOW!!!

Massive support from

OriginalPaul Van Dyk, Armin Van Buuren, Fergie, Sande Van Doorn, DJ19, Danni Bonici, Anthony Pappa & Andy D (Ministry of Sound) Force Mass Motion Remix Crystal Method, Elite Force, Dark Globe, Nick Thayer, Vandal, Hyper & Paul Arnold (Chew The Fat) & Jay Cunning (Kiss FM)

Magazine reviews

iDJPounding more boom in their box than ever before, label curators Mole & Aya invite Glaswegian trio Asapecto into the fold with this delightful slab of epic, trance-tinged tech-house that's already found favour with the likes of Paul Van Dyk! Don't worry breakbeat peeps, it's not all tech-house and Van Dyk's - Force Mass Motion have applied the breaks for a glorious - not to mention gelatinous - tech-funk jam. Result.
Mix Mag*Great late night shuffler from FMM
Aspecto are tech-house Glaswegian trio Michael Paterson, Robbin Bonner and Gerardo Cinquegrana, and have already had ‘Doof’ licensed to German compilation ‘Electronic City’. Our breaks maestro Mike Wells (aka FMM) gives the original a fantastic rerub stripping the tech and dropping it into a jiggy little gem. Grooving samples and shaking kicks make great for a late night, heads down crowd.

MOLE

Moles first excursion into the London underground club world kick started after he was offered his first residence by Dazed and Confused Magazine back in 1993, the club was called Been Their Seen It Done It. Mole worked alongside Richard Fearless (Death In Vegas) resident no 2. The night featured such djs as James Lavelle, Chemical Brothers and a whole host of other main players. Mole kept up the momentum with various guest appearances in and around London including, the now legendary Blue Note, 333, Heaven, Caf De Paris, Home, Mars and various festivals including Glastonbury, Rokit Festival (Hong Kong), plus a lengthy tour of Australia in 2000 taking in gigs from Perth, Sydney, Melborne & Brisbane (Livid festival).
BREAKINGPOINTThe first true night dedicated to a new form of music called Nu Skool Breaks started in 1997.
The night first emerged at a seedy little sweatbox called Gossips down in the depths of Soho. Djs featured on the night included, Bushwacka, Adam Freeland, LSD, Jedi Knights (Tom Middleton), Tipper (Fuel), Lee Coombs, Rennie Pilgrem and Shut up and dance (PJ & Smiley). After twelve months of breaks fuelled mayhem the club moved on to the more intimate surroundings of Mars on Tottenham Court Rd upon where the club carried on putting high calibre djs until the boys decided to get out whilst the club night was still fresh in everyones mind.
CHEW THE FATAfter a short period of time Mole hooked up with old Breakingpoint partner Paul Arnold (Certificate 18, Fat Records, Chew The Fat) Paul offered Mole a residency, which ended up with him seeing out five years at what has now become probably the biggest breaks night in the UK!
Aside from the above, Mole has also played alongside Pressure Drop in Japan and returns quite regularly to fulfil various guest slots, toured Australia including headlining at the Livid Festival (One of Australias biggest music festival), played in Berlin, Sweden, Eden Project (Cornwall) and Switzerland. Featured guest slots on radio, Annie Nightingale (Radio 1) and Tayo (Kiss 100 FM)
2006 will see the launch of the highly anticipated mix album from DJ MOLE & AYA entitled More Boom For Ya Box Vol 1, the album will feature various classics from the labels back catalogue and forthcoming artists plus exclusive remixes from some of the scenes biggest players.
The album will co-inside with a massive worldwide tour, which will include, Europe, Tokyo and Australia.
Mole & Aya will also be hosting the BoomBox Sessions on www.iBreaks.co.uk from early February presenting the deeper side of breaks & house.

AYA

Ayako or Aya to her friends hails from Tokyo Japan and was a firm favourite with the club crowds of Tokyo before moving to London to join forces with BoomBox Records and Mole. Aya has been playing out in Tokyo for the last 7 years and has become recognised as one of freshest female DJs on the circuit. Clubs that have witnessed this divas smooth skills, include, Womb, Code, Bullets, Sugar High, Radio On Studio.
Aya has been a guest at Chew The Fat @ The End, resident dj alongside Mole at Planet Patrol, Voltage in Cornwall (last months gig was at capacity within the first hour of opening, unheard of for this night!!), Eden Project (Cornwall), featured guest slot on Tayos Kiss 100 show, Jay Cunning's Kiss show, Elite Force's Strongarms Sessions on Proton Radio, Smithmonger's Ministry Of Sound & Proton radio in Canada, Break The Tempo in Shoreditch, Dog Star, Telegraph, Bar Vinyl in Camden & Youko at Fluid London plus on an international level at Yumla & the Rockit festival in Hong Kong. She will also be embarking on a tour of Australia alongside Mole to promote the compilation entitled, More Boom For Ya Box.
BoomBox Sessions on Ibreaks Radio
Mole & Aya will be kicking off their new Ibreaks slot later this month. The BoomBox Sessions will take in all things Tech with an added dose of House & Funk!
Tune in @ " target="_blank"ibreaks.co.uk! !

BoomBox Records

BoomBox Records was formed in early 1996 by Mole and Ian Taylor with the initial premise of creating a vehicle for the music being produced by Semi-Detached. After the success of the first single release, WHO DA FUCK it was apparent that there was a demand for this new style of music. At the time the only labels producing consistently good quality beat oriented material were WALL OF SOUND and Brighton based SKINT. Big Beat was born. With labels such as TCR and BoomBox records starting to push up the tempo, creating a fresh sound, in tune with house and techno, but with an important new direction, it became clear that a niche was developing in a rapidly expanding market. Over the years BoomBoxrecords has remained dedicated to releasing quality breakbeat music.
Breakbeat is now an established sub-genre of the dance market and it has its roots and focus in London, with Australia and Europe producing material of increasing quality. As the dance music market has in recent years undergone significant change and slimming down the focus is beginning to return to quality rather than quantity. BoomBox Records remains an advocate of this principle as it searches for musicians that can walk the line between quality production, progressive ideas and solid dancefloor appeal.