The test press of this just got done but I had a dubplate in my bag. Mat (Jonson) has got into the habit of making dubplates before he does the test pressing. Dan's the keyboard player from Cobblestone Jazz, of course. This new thing is totally far out and just like his last record it's really cool. It doesn't sound like Cobblestone at all, it sounds like Dan all by himself. There's a heavy jazz influence on it but it slams away at 130BPM with him singing on it.

I get most of the things from the label as whites. I think the one which people really slept on recently, and has really been a winner in my bag, is Dinky. Every time I play the last single from her people come check and trainspot me every time.

I just found the second 10-inch from these guys. Actually I'm not sure if it's their second 10-inch but I brought their first ten-inch which they put-out themselves two or three years ago…I think it was called "War." Honest Jon's put this out which I was really excited about. I think I actually brought three copies because I was so excited about it, just to give them away. I think the group is two brothers and some buddies of theirs. It has this incredible tuba bass. They have a really heavy hip-hop influence and I think they were playing with Mos Def as his horn section, which you can hear in the groove. The A-side is pretty up-tempo soul, but the B-side is a jazz thing for sure. I wouldn't play this type of thing in a club too much. Maybe at Club Der Visionaere or some place like that where I can stretch out, or perhaps if I'm making a mix. But this is on at home all the time.

For me they (Jiscomusic) have been super hot ever since the "Baby I'm Scared Of You" edit that Mark E did—that was super, super heavy. And the Revenge… I don't know where this guy is from, or if it's a guy or a girl even.

He's a Scottish guy named Graeme Clark. He did a podcast for us a couple of months back.

The records he's putting out right now are stellar. I'm loving all these remixes and things he's doing. He's got a real touch. I can't remember the original right now, but this is Stevie (Wonder). He did a bunch of additional production to it with the drums and synths. It's super catchy and when Stevie kicks in after five minutes it's just happy days. I'm not sure what Stevie would think though...

This is a funny one that Adam Marshall handed to me. I heard him play it a bunch of times, and pretty much every time I said, "What the hell is this?" I think Murr is a Canadian and I think Kuji is one of Adam's labels. This is great tune; it takes almost forever for this kind of punk sounding girl to come in on vocals. It almost reminds me of old techno in the way it sinks into this heavy bass line for a really long time and then flips into this vocal. This is a really cool tune so thank god he handed it to me. I guess I asked him enough times what it was. This record was actually somewhat of a failure on sales and disappeared, which is too bad for Adam, but great for anyone who picked it up.

What a stellar record. Clone and Rush Hour have been doing these—well, Rush Hour have been doing them for ages—little labels with limited releases. There's a vocal on this and an instrumental, but Mike Dunn's production is incredible; it's a solid tune. The first time I played it here in Berlin it was like, "Oh here's all the guys from the back of the club and the corners coming out now," or, "There's a couple of record store jockeys,"—everyone just suddenly showed up. It's a hot tune for sure, and perhaps quite understated as well—not the vocal version, but the Mike Dunn mix.

Do you tend to drop many of the original Chicago house records?

Yeah, sure. I'm not afraid of that. Why not? I play a lot of old stuff with new stuff. I'm a bit of a schizophrenic that way. I'll play disco with the current minimal hits—I don't mind.