“I came across 'Biologic Music' at the world's largest record fair in Utrecht. I found this record in the five-euro bin at a stall there. It is one of those records that proves the adage: you should always judge a record by its cover... and the instrumentation listed on the back. I stood there staring at the cover which had, what appeared to be, an electron microscope picture of an insect on the front - it didn't look like any of the other records I was looking for. When I turned it over and saw the list of instruments: electronic drums, marimbas, balafon, shekere... I knew it was going to be good. But when I got it home and listened to it I couldn't quite believe just how good it was.

The hypnotic rhythms on the record swaggered in a way that sounded like nothing else. There was a fantastic sense of space in the arrangements and the music seemed (and still does) totally contemporary despite being recorded in the mid 80s. I knew right away this album was something special. I can't remember when I made an edit of it - these tracks don't need any alteration to sound at home in a contemporary club - but at that time I was making loads of edits and tracks really quickly, enjoying the possibility afforded by the transition to digital DJing. Which meant that I could work on something in the afternoon and play it that night. Whatever the particulars of when or where I made the edit, there's no mystery as to why I chose this record to work with.

This music still possesses an instantaneous, timeless atmosphere about it that's evident from the moment the needle touches the record.”

Dan Snaith (2019)