The 400 Remix Project – Sleeve Notes Pt.2 by Various Artists

Here we bring you part 2 of the stories behind the tracks created for The 400 Remix Project – from the artists themselves…

Plus, Ford Timelord conducts an interview with some of the artists…

The 400 Remix Project album has been a gargantuan effort by members of The 400 and their extended family. So far, proceeds have gone to www.naturaldeath.org.uk and www.crowdfunder.co.uk/the-florrie-adp-riot-tour/. You can still support the record by purchasing either a limited edition CD (now in its second pressing) or digital download via bandcamp here. Any remaining proceeds raised will now go solely to www.crowdfunder.co.uk/the-florrie-adp-riot-tour/.


The Kleptones

1:8 – While Yoko Dreams

Book 1 Chapter 8 (The Kleptones 23 Book Drop). Well, this was an interesting experiment. Track length set by the number of pages. Tempo, key, sample names and sounds determined by matching key words from the chapter. A few cheeky references to page activity sprinkled throughout. Traffic noise added as a tribute to Gimpo’s M25 run. Completed in 23 hours and it’s a 23 page chapter too. Certainly didn’t turn out how I expected, which is always welcome. Hope you enjoy. Eric Kleptone


Jim McCauley

2​:​1 – The Shard Will Burn

I shouldn’t have been the leader of Book 2, Chapter 1. If the JAMs had followed their plan in the Bombed Out Church, I’d have likely been in Book 1, Chapter 8 and maybe I’d have got to collaborate with The Kleptones on a track. But instead Jimmy went off-piste and started handing out pages left, right and centre, and I found myself in charge of a small and splendidly confused group of pagekeepers, one of whom spoke barely a word of English.

We missed the important bit of Oliver’s briefing, the bit where he explained what we were supposed to actually do, because it happened at the same time as we were being awarded our pages. So we muddled along, figured things out and created some excellent contributions to the Book of the Book, my favourite being Yasuhiro Shimoda’s Japanese translation of page 150, which came about after a long and difficult process of trying to explain to him exactly what the fuuk was going on through the power of Google Translate, and him eventually almost, but not quite, getting the point.

What we completely overlooked was the requirement to present our findings that evening, resulting in me frantically tapping notes into my phone two minutes before I had to follow a series of brilliant and inventive performances by stepping out in front the JAMs and the 400, grabbing a microphone and basically just fucking blagging it, backed up by top wingman and supplier of 20-year-old Jura, Andy Langshaw. If I’d been warned this would happen I’d have honestly run a mile, but I’d made myself a promise before the Dark Ages that I’d go with whatever came up, no matter how terrifying. I think we got away with it.

Tasked later on by number one 400 cheerleader Andy Gell with creating a musical interpretation of our chapter, I had a bit of a problem. I don’t really like its protagonist, embittered child actor turned iron-pumping social media rabble-rouser, Henry ‘da Riot’ Pedders. The chapter title, ‘Revenge of the child actor’, didn’t really say anything to me. Eventually, spurred on by the need to provide something for Oliver Senton to record, I found a focus: Pedders’ obsession with the tall buildings of London’s skyline and his desire to burn the Shard.

So with half an eye on ‘It’s Grim Up North’ I found a Wikipedia page of the tallest buildings in London, sorted them by height and created a list of 64, leading up to the all-important Shard. I copied out a couple of Henry’s tweets from the chapter, exhorting his followers to assemble and march through London for a midnight Shard-burning, and suddenly I had a name for the song: ‘The Shard Will Burn’. I sent the words off and then forgot about it all until the deadline for submitting tunes started to get dangerously close.

The tune itself came together fast. I came up with the idea of backing Oliver’s reading of the 64 buildings with a Shepard tone, an audio illusion that sounds like it’s continually rising, and more through luck than judgement I managed to build one and discovered that it worked. The rest of the song fell into place once that was sorted; the real work was chopping up Oliver’s recording to bounce along with the beat, having to jettison a few buildings along the way, remembering to include the pagekeepers’ names after a little prompting from Mr Gell, and a lot of fiddling with the mix to try and get a not-too displeasing overall sound out of it, one that didn’t drown out the O’s vocal contribution. I think I got away with it. Almost.

Like the chapter itself, this one’s short. If you don’t like it, there’ll be another one along in couple of minutes. If you do like it, I could be persuaded to do a 12-inch mix. It’s been chaotic and occasionally shambolic, as is only right and proper, and I commend it to the JAMs.


Turkeys In The Corn

2:2 – What Is Rape?

We stretched out the Officiator,
Split him in two,
Stripped him
Of his humanity
Vicious,
Relentless,
Rhythmic endurance
Again and again
And again.


Lee Ashcroft

2:6 – Big Mac With Fries

You weren’t there, but while others burned the Shard, you felt those four words take root in your psyche: BIG MAC WITH FRIES.


Simon Stokes and Pries Verhon

3:1 – Sailing, Bye/257in400

Pries Verhon and the song

I was invited to the 400 remix project after The dark ages. A creative project that is thriving and has a very nice plan for an album created by members of the 400 and inspired by the events. I have done some music myself in the electronic genre but that was around 15 years ago with some new tracks being created for the soundtrack to my feature films (You probably know about these, I never shut up about them but whatever).

When I started to plan for my tune I first considered to make it really silly. That is, JAMS 1987 silly with rap and all; maybe a rap duet with another in the project. Just going on about my page and the events to some beat that I would produce with a Kaoss Pad 3. I kept thinking about it but realized that it needed to be heroic. And wilder.

I tried to connect my Kaoss Pad 3 to my PC but just couldn´t really make it happen. I tried to record some jams from it to my mobile phone and that worked but the sound quality was just totally crap. You could barely hear anything. I did not really want to create a drone or ambient version of Chill Out that no one could really listen to so I decided against it. There is the no music day and the Drummond documentary but hey, it has been done. Moving on.

Next I downloaded an app for making synth sounds to my mobile. It was kind of fun. But I just couldn´t really get down to making a whole tune, just snippets. And snippets are all good and nice and adds to an album but this was to be a tune. Discordian or not, a full tune was needed.

Finally I decided to go KLF and Orbital. The KLF has done songs in so many versions and remixed, rehashed and just made megamixes with material being used over and over again. Loving that. I did what I have done for my soundtrack then. I picked a tune I created in dance ejay 1 or 4 like 15 years ago. (Yes, I used dance ejay 4 and I would use it again if I could make it work for windows 19). I ran that tune a few times through audacity. Reversed it, pitched it. Changed the speed. Removed vocals. Changed the speed some again. Reversed it. Kept making it totally (or almost totally) different from the original. The original song is upbeat and uptempo and the tune turned out more omnius and weird. This is usually what happens when twisting a song around. Finally it was done and I found it quite heroic. Wild for sure.


Mark Love

3:3 – WAR! What Is It Good For?

There’s nothing like a deadline to focus the mind. And as the deadline for recording in Brighton approached, my mind certainly needed some focus. As the keeper of p299, and sole representative of Book 3 Chapter 3, I had a job to do, but this time I had no one to tell me what it was. So I went back to the source, opened 2023, and the chapter title enquired of me “War! What Is It Good For?”

I had my own ideas (technological innovation, arms dealers, undertakers), but felt compelled to immediately leap onto Facelife and solicit the views of The 400. Within minutes I had 23 suggestions.

Having not been in a recording studio before, or needed to have given an actor (or an Officiator) any directions, I was perhaps overly relaxed when our moment came to record. But fortunately I was in the presence of professionals, and Oliver suggested his RAW voice for WAR, and the remix concept was complete. Even the combined efforts of The 400 Chorus couldn’t quite throw us off track, and once a hastily convened shouty chorus was in the can we headed victoriously to the pub.

Adding the music was easy, but the spirit of (Daisy) Eris also needed combining with the RAW ingredients before the remix was komplete. We were done.

Or so I thought. A few days later a video mysteriously appeared which confounded and confirmed my suspicions, and added at least one other dimension. War was good for even more than I had thought.


Darren Tyler and Chris Moore

29. From The Shard 2 The Galaxie

Ford Timelord interview with Darren Tyler and Chris Moore

Darren Tyler is putting a manual together logging the history of the iconic Jams Mobile that served well to the Timelords and KLF many moons ago.
So with all the poking around in the Ford Galaxies past he thought he’d turn the tables if only for a mo…

🚔FT:…..I’m Ford Timelord And I want to ask you!!!
This is Ford Timelord’s interview with Darren Tyler and Chris Moore about their track, ‘From The Shard To The Galaxie’ which appears on the 400 Remix Project Album.
An album put together by a select bunch of the 400 that were summoned to the Bombed Out Church in Liverpool, along with the lucky 99 that were at Burn the Shard in London.
The 400 were told to respond, this is there response…..The 400 Remix double CD Album…..

🚔FT:……Hi! I’m Ford Timelord ,it was a long time ago but I I’ve had a Number One Record so I know about making music.
On my travels I have picked up Darren and Chris who tell me they have been involved in a project inspired by the JAMs.
I knew the JAMs years ago, before the money.
So we hit the road and we listened to their track whilst I asked a few Qs. (We only had 7 minutes, I’ll listen to the rest later.)….

🚔FT: What is it?

D: It’s an album inspired by the JAMs, it all started after
The Day of the Dark ages in Liverpool and the Burn the Shard in London.

A select bunch of the 400 have teamed together with a mix of genres and styles of music, poetry and all sorts and come up with a double CD with 32 tracks on.
All proceeds go to very good charities.
The Natural Death Centre and towards Jimmy Cauty’s ADP USA tour.
I haven’t heard all of it yet but it is looking and sounding really good.

🚔FT: What’s your track called?

D: The Track is made of two tracks and is called ‘From the Shard 2 the Galaxie’.
My track is actually based on you, the Ford Timelord,
The chief officiator Oliver Senton was in the studio in Brighton and did a great job of what we asked for and I think it fits in a treat.

C: It seemed like a natural title to give the tune,with my part of using the “Shard” samples from the videos for Darren’s tune.

🚔FT:how did you get involved with the 400 Remix project?

D: I wasn’t lucky enough to get a ticket for the Dark Ages in Liverpool but as a JAMs fan I followed it 24/7.
I definitely made sure I went to Burn The Shard in London, and since then I’ve been in tune with some of the projects coming out.
Like Andy Gell’s ‘Whatever’ and ‘Together’ books.
Scaramanga Silk’s Welcome To The Dark Ages web site, (which this is going on).
And I’ve started my own project on yourself, The Ford Timelord Manual.
And now this Album.

C: As soon as Darren asked if I wanted to help put a tune together for the 400 Remix Album I jumped at the chance.

🚔FT: Have you made music before?

D: Yeh, but not for ages, me and Chris had a rap group going on inspired by Public Enemy, Wu Tang Clan and also the UK hip-hop scene including the Ruthless Rap Assassins produced by the great Greg Wilson.
I used to write lyrics and stuff, made music on an old Atari computer, things like that.

C: Messed around years ago making beats and nothing ever got finished, although there is a couple of hip hop Demo tapes from years ago that will never see the light again, (I might burn them).

🚔FT: What did you use and tell me about the samples? (is that me? and of course I know the Ice Kream Van, I heard the JAMs talking about it all those years ago).

D: I really wanted to use samples from my vids from Burn The Shard, but at the same time I really thought it was a good idea to include Ford Timelord.
So that was it Chris had Free roam with the vids. We came up with a little skit that seemed to join the tracks well so it was was laid down as one tune.

C: I was more than happy to concentrate on just the “Shard”samples and the Ice Kream Van in the background just had to be looped!
Took a while to get right but happy with it, Oliver’s samples went in a lot easier!
And Darren’s skit to join both tunes together works an absolute treat too, Top work!.

🚔FT: I’m off to Sierra Nevada now so it is time to drop Darren and Chris off. Have exchanged details and maybe will have a future joint project in the pipeline. Maybe in 2023………

Photos by D.Tyler.


You can listen to more tracks and support the record and cause by purchasing either a limited edition CD (now in its second pressing) or digital download via bandcamp here.

Leave a Reply

Your email address will not be published. Required fields are marked *