And that built up this sort of rhythm bed. So, I got a bit of Clune’s drumming, and then just responded with all these samples. “But, what I did was get the ARP and just sent it a trigger, and built a library of sounds onto DAT – percussive and aggressive sounds. By then it was probably starting to get called ‘drum & bass’.
It was like, let’s go for speed, let’s go for jungle drums. I just sat there and I built the track up. So, it was another connection to that film. “Interestingly, the first showing of that game, which was a kind of a souped-up version, was in the film Hackers. When they came to us, we actually genuinely thought we’re going to have to make this on a special system. Everything else had been made on the sound chips. And it was the first time, as far as I could tell, where just regular music could be in a video game. So, it’s named in part after her, as a tribute, as well.” P.E.T.R.O.L. Yeah, and was just starting to sort of make it, and then you know, unfortunately she died while we were making that track. She was doing a lot of stuff for Volume magazine. She’d photographed a lot of us around that time, you know? People like us, Reload, Aphex Twin, Spooky. She was a photographer and she was kind of building up to be the rave photographer of choice. “And then it’s also about a really good friend of ours, one of my old friends from Sevenoaks who I had known since I was kind of 16, called Sally Harding. They came along one Saturday and threw their cables through the window, and we recorded the track with a solar panel. We had the Greenpeace mobile solar-powered generator, Cyrus, parked outside the Strongroom studio. But, it built up and developed from that, and became what it was. I think it was replaced by a Leftfield track in the end. We really liked the track, so kept it going. And it didn’t actually end up in the film. “This started life as a potential cue for the movie, Hackers. For the main bulk of the heavy lifting on the album, for sure.” In Sides, track by track with Paul Hartnoll The Girl With The Sun In Her Head “Yeah, they, I would say, were the main instruments we used. Then we used the Jupiter-6 and the ARP 2600. And there was still a lot of SH-101 and SH-09. “There would have still been a bit of the R-8 and R-70 drum machines. And then we sampled live drumming from David Gray’s drummer, Clune. It’s like an Emax III, really. There was also a lot of 909 going on in there, still. “In terms of kit, and what we used to make In Sides, it was a lot of the Emulator III, to start – not the really posh one, the digital one.
It was just recorded in a little room," Paul tells us. “We made In Sides in Strongroom studios, in Shoreditch.