The first project was recorded in the summer of 1990. In 1991 the The Mighty Dred EP was eventually released.

The Acid House Track "Escape from Reality" was what initially attracted the interest of R&S Records in Belgium. . (At the time the leading label for Techno Sounding Music). It was also championed by Adam X & Frankie Bones from New York's Sonic Groove.

By 1993 I had enough resources to continue the label and a friend designed me a logo. I decided on a sequence of alphabetic catalogue numbers A TO H that would eventually be followed by Numbers 0 to 9 and afterwards turn into a combination, Machine Code Syntax.

Hence, CODE A, CODE B CODE C, CODE D, CODE E, CODE F, to date.

Chime 2T was also part of the Machine Codes and was released in between code d and code e.

The whole ethos of the label was about music made from machines and to incorporate sounds from machines, both Mechanical & Electronic, that had a non musical purpose, [switches, domestic appliances, office equipment etc. you name it. . . ], with synthesised sounds.

4 Track EP.

Logo Side (Judge Dredd).

Track 1. Rock The People. Raving Synth Track. Roland SH101 style. Vocal samples. Fun!

Track 2. Escape From Reality. 2 TB-303's, Juno1, etc. Tasty.

Info Side

Track 3. Escape from Reality.

Track 4. Clear Your Mind. Programmed entirely on a Yamaha Rhythm Programmer.

FACTS:
The Mastering Plant accidentally pressed one of the tracks twice and completely left off one!!

A Review in DJ Magazine lead to a phone call from Lee Newman of GTO & Tricky Disco. She in turn introduced my music to Colin Faver from Kiss 100 FM and soon after I was having a DJ Master Mix played on Kiss FM London.

An Acid Packed Six Track Black Vinyl Record.

Logo Side

Track 1. F**k Ya Acid! It was made using a Korg MS20 sequenced by a Korg SQ10.
Making full use of the DSP section, I set up a patch that was reminiscent of a voice saying
"Fuck Ya Acid". I love getting synthesisers to to make sounds that quite clearly "mimic' identifiable words. Waveform Based analogue synthesisers are the best for this particularly when the ocillator has a variable pulse width waveform and a ring modulator is present.

Track 2. A very, very aggressive track. The tearing, ripping lead bass line comes from a Roland System 100 model 101 Synth triggered over cv & gate from a TB-303 sequence. The other freaky noises were programmed on a Roland JD800.

Track 3 is a funky Acid track. 3 TB-303s and a TR-909.

Info Side

Track 1. . 3 Roland TB-303s, TR-808 and a Yamaha RY30 Crash Cymbal. The Bass line is a triplet scale sequence. It's fat & the frequency fries ya brain up.

Track 2. A meandering & very funky Acid Track. The Bass line is an old Juno. Strings from a Juno Alpha 1.

Track 3. A recording of my old Casio DA-R100 portable DAT Machine ejecting.

FACTS:
Originally, the tracks were unnamed.
Later I named the 2nd one (Hard Track) 'Helta Skelta' and the 5th one 'After the Tears'. Purely for the compilation CD that followed later.

Fu-Chin-Ra was in the MixMag top 50 dance records of 1993. The reviewers must like acid.

I still have a few left for sale. (Store). Very Collectable.

Six tracks featuring - Electro · Abstract · Industrial · House· Acid.

Logo Side

Track 1 is an Electro jam. A Roland 707 for the drum parts and 3 TB303s for the Bass Lines & Melody. One of which passes thru a Pitch Shift Algorithm programmed on a Boss SE70. There are 7 pitch levels to give a Harmonically Rich Polyphonic Bass/Pad morph Effect.

Track 2 is another abstract MS20 / SQ10 combination.
This time I programmed a patch & it began to say "You Wanker, Fuck You... You" in a loop.

Freaked me out a bit. The slightest movement of any parameter was enough to render the speech effect useless. A very precise patch.

Track 3 is an Industrial Stomper. LoFi, Sequenced on a Sequential Circuits Studio 440.

Info Side

Track 1 is a House Style Track. Lots of recognisable Analog Roland Synth's & a TR-909 beat box.

Track 2.is a full on Acid Symphony using 4 Roland TB-303s and a TR-909.

Track 3 is a recording of an old HP Scanner aligning the scan head. Machine Code No.2.

FACTS:
Once again the tracks were originally unnamed. Later, I named the first one on Side-M 'My Bassline Is The Melody' and the first one on Side-C 'Reach Inside'.

This one is fully deleted. Sold out.
Best check eBay or 2nd Hand Stores if you want it on good old Vinyl.

Six Tracks.

Logo Side

Track 1.'Lowestoft Electro', A terribly lo-fi Electronic workout of home made percussion and synth noises from a Korg MS20 and Roland Sys 100 Model 101.

Track 2. 'Midtro' lots of MS20 shenanigans sequenced on a Sequential Circuits Studio 440.

Track 3*. 'Face The Future'. Industrial Electro. Sequenced on a SCi Studio 440.

Info Side

Track 1. 'Salutation', A cool Acid symphony of 3 TB-303's.
Track 2 'Retrospective'. Softer Electronica. More Composed.
Track 3. 'Outro'. Rough & Ready Expanding Hallucagenic sequence!

FACTS:
Winner of SINGLE OF THE WEEK in N.M.E. Vibes 1994.

Track Names engraved in the lead-out grooves on each side.

Lowestoft Electro was named after an electrical store in Lowestoft, Suffolk UK, that sold domestic appliances on the ground floor with a record shop on the 1st floor.

Ice T did a track called Outro on the Power LP.
I've got a copy of Power signed by Ice-T, DJ Evil E & Darlene.

*I totally reworked 'Face the Future' a few years later. It is entitled 'Well Wicked'. (Something I'm accused of saying alot)

Sold Out. Very Collectable.

4 Tracker introducing the concept of fusing Techno with Electro acoustic. DJs v Boffin's!

Logo Side

Track 1. 'Cornucopian 105'. It's a combination of Cutting Rhythms and Electro acoustic Textures generated from transformation of the Rhythmical Parts. A real ground breaker.

Cornucopian 105 recontextualises what are acceptably useful strategies within composition, putting the listener in touch with many musical forms that would otherwise be excluded by purist notions towards music. Cornucopian 105 introduces new ideas into contemporary popular culture, exploring unique hybrids, which exhibit themselves in terms of perceived origin.

Track 2. 'Wash the Telly'. It was made from over 70 home made sounds one of which came from my Korg MS20 and sounds like someone (something) saying "Wash the telly". This track is funny and even inspired the likes of Chris Cunningham, that clever lad who does cool stuff with motion picture, to get more into music making.

Info Side

Track 1. Pete's solo, called 'Modus Vivendi'. It's an orchestral piece.

Track 2. 'Monkey Systems 107'. Another Techno meets Electroacoustic Technique. Rolling, Grating Korg MS20 Synth with transformations using CDP. The odd thing being that it retains a very hard edge without a single drumbeat!

FACTS:
105 Cornucopian later appeared on the VIRTUAL FARMER LP on Rephlex Records.

Signalled the beginning of my brief musical partnership with Peter Green.

Perhaps more significantly it formed the embryo of the revolutionary new music that was to follow over the next two years culminating in the completion of the VIRTUAL FARMER album in 1997
.
This was immediately recognised by Dave Robinson, Assistant Editor of Future Music Magazine, who commissioned a full-page feature outlining our project in Issue FM37 1995.
We were featured artists on the cover CD also with an edited version of Cornucopian 105.

Not bad for a completely underground project from relatively unknown Artists! on a tiny record label with little capital.

The article begins with the following paragraph…
"WE BOLDLY CALL ourselves Future Music. But how often do we bring you something so forward-looking, yet at the same time so contemporary that it might - just might - set the agenda for the next post-techno, post-analogue phase?"

MAGIC FEET Magazine said about the Beyond The Box EP, "If 99% of Techno shares the same genetic code, then this is the one that breaks the mould.".

N.M.E Vibes gave it a very favourable review (see reviews page).

Sold Out. Very Collectable.

This is a Single-Sided EP with a plain Green Label, featuring only Two Tracks.

Track 1. 'Nautilus 110'.
It's a perfect example of combining influences from club land with academia.
A fine example of Electro-Synthetic and Electro acoustic composition.

Nautilus was set out with some strict guidelines for its construction long before composition commenced. The main objectives were the expressive nature of drum parts, spatialisation non-conformity and anomalous behaviour. One of the possible reasons for Nautilus 110's disturbing yet engaging quality is the distinct lack of any spatialisation. This is not simply limited to the non use of reverberation devices, but also engulfs the nature of the work by the non attempt to synthesise spaces on any level (that is, no natural reverb inside of the sound objects and no attempt at building psycho acoustic reverberant devices). The careful use and interplay of transformed elements, as the basis for constructing various sound stages was largely pioneered in Nautilus 110. The imagery of this work is of dark brown, distant cavernous spaces with undisclosed subversive undercurrents, sultanas and a light banana soufflé.

Track 2. 'Grrearra Falcon'. Another fine example of the genre.
Aimed more at the listener.

FACTS:
Grrearra is a Granular Synthesis Algorithm from the Composers Desktop Project. The Falcon part relates to the Atari Falcon computer used for the transformations.

This Release won the TOP TAPE award in SOUND ON SOUND MAGAZINE.

I still have a few left for sale. (Store). Very Collectable.

Released 1997. There are 12 Named Tracks on the CD.

Helta Skelta
After The Tears
My Bassline Is The Melody
Reach Inside
Face The Future
Retrospective
Wash The Telly
Monkey Systems One Oh Seven
Grrearra Falcon
MarshMallow*
Down On Marne Avenue*
Modus Vivendi

CatCode:

CODE A
CODE A
CODE B
CODE B
CODE C
CODE C
CODE D
CODE D
CODE E
No Code
No Code
CODE D

FACTS:

There are 24 Tracks in total.

Box Sets are now valued on the 2nd Hand market at £200GBP a box in fine condition. There were 167 released and each was hand signed and numbered.

The CD contains a couple of tracks from each of the EP's plus two bonus tracks not on vinyl.

Note that the CD does not contain all tracks from the Vinyl's, Just a selection plus bonus*

I still have a few CDs left for sale. (Store). Very Collectable.

I still have 3 box sets for sale (at the right price). Stupendously Collectable.

Text From CD inside cover. Written by Rephlex Master Control.

Nobody quite knows where Mike Dred comes from. I first hooked up with him around Mayday in 92, when he passed us a truly fierce demo, under the guise of the Kosmik Kommando.

I hadn't heard such inspiring techno music since Warp's launch two years before; and there was plenty to go on. . . tape upon tape, encompassing every genre that I love. However, there was one genre that shone through as Mike's first passion - ACID house! Indeed, he stands with the Chicago legends as one of the few real 303 Masters (how many people do you know that owned four of them at once?!).

Just when everyone thought there were no patterns left to write, he'd flipped everything around and was spearheading the most important dance music movement of that time; where the mood and the machines were just as important as the melody. If you're reading this then you'll know the rest - a host of releases on our label (including the legendary Universal Indicators) as well as several others with Analog USA, Axodya and R & S (who set up the Diatomyc subsidiary especially for him).

With these under his belt, and so many more tracks waiting, it seemed a logical step to evolve his own imprint, MACHINE CODES. It was also a way of introducing his changing direction to the world.

We'd been playing at Drop Bass Network's further party in Wisconsin and he'd come up with some really mad tracks to perform in a P.A: As I see it, THESE tunes marked another major development in Electronic music. He'd developed a totally fresh, highly personal kind of music that boggles your mind, using techniques you can't work out. You can't say that about music any more and that's why you need this album.

I think that you'll get to know Mike while you listen to this musical biography and I'm sure you'll see how his recordings have inspired a whole range of other artists( I've heard his records sampled by DJ Hell, C Tank and countless UK hardcore bootlegs). It will broaden your horizons. It'll give you both a taste of history and a pointer to the future but, most of all, it's entertaining, sincere and deftly crafted music that will survive the test of time.

Rephlex Master Control.

4 Track EP. Composed in 1994 and released in 1996.

Logo Side (Totem Pole)

Track 1. "I can't remember". A lovely piece of entrancing Techno. Bouncing Bassline from the System 100 Model 101. Drums from the TR-909 and pads and melody from the JD800 and Juno.

Track 2. "Nude Parture". Very sweet Bleeping piece of Electronica. Sequences from `the SH-101 with Much Octave Shifting, Juno, SH09, JD800 etc. Drums from the TR-808 and SCi 440. Listen for the TB303 making a cameo appearance doing an impression of a Spring "Boing!" sound.

Info Side

Track 1. Totem Pole. Smooth and Deep Electronica. Invokes feelings on an ethnic tribal level. Inspired the picture of the Totem Pole on the Logo Side. Percussion from the JD800 as are the Pads.

Track 2. "Inhibitor".Funky Acidic Techno. Funky 303 Bassline bubbling over a gentle rolling 808 Rhythm. Washed with rich pads and a softly stabbing chord sequence. Ummm!

FACTS:
This Ep contains 4 Tracks that were part of 8 originally scheduled for a Mike Dred LP on R&S Records, to follow on from the Macrocosm EP in 1994. Unfortunately we could not agree terms. So i split the proposed LP and released these 4 together. The other 4 are still to this day unreleased.

I chose theses 4 as a kind of sequel to the Chimera "Valley Of The Spirits" Project on Rephlex Records. All tracks were composed in the same era and reflect very well my state of mind at the time.

I still have a few left for sale. (Store). Very Collectable.