Pete comments on the ‘Hypersleep’ official release, sample clearance and the remix series in a period, when a wave of noir was sweeping the scene.“So the track itself wasn’t released until at least a year or so after it was made, due to me wanting it to be included on the ‘Future Retro’ album. I had plenty of offers to release the track as a single, but I wanted to keep it, and put it out as a part of the album release.However, the release of the album got screwed pretty badly by legal BS that kept it from being released for at least a year, by which time d&b had moved back to the darkness and wasn’t really into the whole deep atmospheric vibes much anymore, so by the time it finally got its release, it was over a year old, and released into a scene that on the whole, had retreated back into being a lot less accessible to a lot of people, which was in direct contrast to a lot of the tracks that had been released during the previous few years. Also releasing ‘Hypersleep’ as a single in its original version had a few issues, the biggest being it sampled quite a large chunk of spoken text from a major Hollywood movie, and releasing it without gaining clearance would probably have been a bit tricky. So I decided to keep the original version on the album, and get a couple of vocal actors in to redo the speech for the single release version. It didn’t sound too bad, but it didn’t have same impact or vibe of the original, but there was nothing I could really do, as there was no way R&S would have released the original and not got clearance.I did a remix of it which was pretty pale in comparison to the original, and so did EZ Rollers. To be honest, I didn’t know quite what to make of the remix from EZR, they took it into the dark and techy vibes that were all over the scene at that time, and it wasn’t really my thing…..but whatever. I’ve thought about rebooting the original, but every time I do, I run it through my mind, and I don’t come up with anything that gets close, or can offer anything that can better that original vibe that captured a time and place so perfectly for me”.

Pete comments on the ‘Hypersleep’ official release, sample clearance and the remix series in a period, when a wave of noir was sweeping the scene.“So the track itself wasn’t released until at least a year or so after it was made, due to me wanting it to be included on the ‘Future Retro’ album. I had plenty of offers to release the track as a single, but I wanted to keep it, and put it out as a part of the album release.However, the release of the album got screwed pretty badly by legal BS that kept it from being released for at least a year, by which time d&b had moved back to the darkness and wasn’t really into the whole deep atmospheric vibes much anymore, so by the time it finally got its release, it was over a year old, and released into a scene that on the whole, had retreated back into being a lot less accessible to a lot of people, which was in direct contrast to a lot of the tracks that had been released during the previous few years. Also releasing ‘Hypersleep’ as a single in its original version had a few issues, the biggest being it sampled quite a large chunk of spoken text from a major Hollywood movie, and releasing it without gaining clearance would probably have been a bit tricky. So I decided to keep the original version on the album, and get a couple of vocal actors in to redo the speech for the single release version. It didn’t sound too bad, but it didn’t have same impact or vibe of the original, but there was nothing I could really do, as there was no way R&S would have released the original and not got clearance.I did a remix of it which was pretty pale in comparison to the original, and so did EZ Rollers. To be honest, I didn’t know quite what to make of the remix from EZR, they took it into the dark and techy vibes that were all over the scene at that time, and it wasn’t really my thing…..but whatever. I’ve thought about rebooting the original, but every time I do, I run it through my mind, and I don’t come up with anything that gets close, or can offer anything that can better that original vibe that captured a time and place so perfectly for me”.

Wow, no reviews for this 3 track gem. The 97 revamp features the original Alien soundtrack vocals of Ripley & Burke. This track is firmly rooted in the classic period of intelligent Drum & Bass and will forever remind me of those amazing days when the music was still discovering new ways to sound futuristic, smooth and deeply thoughtful. Stunning

Excellent track. Unfortunately, they couldn't clear the sample from Aliens and had some voice actors re-record the dialogue in the official release. The voice actors (particiularly the male voice) are not very good, and unfortunately and the diaglogue looses some of that cool-factor. Being used to listening the 'original mix' (as opposed to the '97 revamp" in many sets (ltj, promised land etc), something just doesn't quite sit right with me about this version. there are some other minor edits (removal of crahes/hihats in the intro, and a repeating fx-type sound that is louder in the revamp, played throughout the whole track. Something is not quite right about it. None-the-less, it is a classic dnb tune but not the version most are used to.

Yeah, wish I'd read this before buying the 12", it doesn't feel right with the redone vocals :(

This release extensively samples dialogue between "Ripley" and "Carter Burke" from one of the opening scenes of the film Aliens. The track its-self is a dreamy Jungle track, lots of drifting pads and lacklustre drum programming, for a mixing record it is superb, but at nearly 10 minutes long it can get a tad boring. The album from which this is taken "Future Retro" will dissapoint fans of this track, the styles on the album -poppy jungle and mid tempo vocal tracks do bear the producers' hallmarks but pale against this masterpiece. I have heard at least 5 sets by LTJ Bukem that have featured this track (the original mix), though in general this record seems to be more popular with fans than DeeJays.

These smooth, deep-atmospheric soundwaves of Pete Parsons had samples from a BBC documentary with the participation of Mark Shorey and Varnia Lovinsky's vocals recorded at Scarlet Studios, with Wana Hewitt as engineer. This was just one of the evidences of how essential was the R&S label was - releasing excellent techno, electro, experimental, ambient and drum & bass tunes (between other genres)...