The Boy Lost In Muzak, aka Gervease Cook, is another one of those breaks artists that jumps in bed with everyone, cutting it with the progheads as much as the festival-breaks denomination. In short, he is defeating the segmentation barriers slowly (quickly?) forming. “I got together with Mark Pember (Meat Katie) and did Coming To that ended up being this house track. The vocals were really good fun – they really make the track. (The line is) ‘Lies, scandal and pornography’ (laughs).” Inspired by Robert Downey Junior? R Kelly? Or maybe the Olsen Twins? Never mind, BLIM is here to fracture the walls at Seven again. Allah be praised.

Along with running his own imprint, Track, BLIM has managed to stay up with pack of leading breaks boffins by knocking out a respectable artist album (through Tayo’s TCR label) and is now sitting pretty with Ils, Freq Nasty and the Plump DJs. He has releases on Talkin’ Loud, Eruption, Hooj Tunes, Circulation, Moving Shadow and Mute. BLIM’s collaboration with Rennie Pilgrem, Eskimo, remains one of the finest moment of the premier genre. Another collab Cook managed was with Rennie Pilgrem on 2Freaks. This tune thumped and bumped everywhere at the Miami Dance Music Conference 2003, and is another elastic taste of the album ‘Lost In Music’.

How have you differed your style in production as a reaction to the generic breaks sound that has unfortunately emerged?
“I don’t know – it’s not something I ever really consciously think about. I find it hard to repeat myself anyway. So think I constantly absorb and twist and change. I’m not really aware of trying to stay fresh – I’d get bored if I did the same thing over and over again. I don’t really do a whole lot – I’m not massively prolific.”

What are your latest studio vices? Spill the beans…
“I just bought a couple of new Kompressors. Really nice, German-built. Analogue outboards are still really appealing to me. It’s quite difficult working on a computer; it’d be fantastic if it did what you wanted and made everything easy but the actual quality is down, so I really heavily on my outboard and my analogue.”

You also stopped relying solely on yourself during the making of this album, jar? Share with us the magical mystery tour you undertook…
“I worked with a girl on the album and it was really hard work because it was the first time hadn’t worked on my own. It was really really rewarding. The vocals she’s done on Skapurr are wild. It’s a little bit different from my standard breaks stuff and it’s led onto other ideas for songs that are a bit more of that organic sound. She wrote the lyrics. Skapurr started off with the sound of a cat purring, my cat Asterix (this comment started a quick Asterix and Obelix conversation. Tintin was not mentioned).”

And how did you track down this other feline?
“Basically she was an old friend of my girlfriend at the time. I’ve been enjoying being single since the start of the year. 100 percent. Just concentrating on myself. I hadn’t finished the album when I split up with my ex-girlfriend and I don’t think I ever would have done. I’ve had a phenomenal year as a result of a couple of choices I made early on. Being single gives you independence, it makes everything your own responsibility and you can do that in a relationship but for some reason you just don’t.”

What are you most excited about on your album?
“Skapurr, definitely. 2Freaks is obviously great fun. Dancefloor-wise it’s one of my favourite tracks. It epitomises my change in direction and what people would have expected from me. The whole album was really about working down to the groove-based medium and being more broken and breaks orientated. Some of it is really good and captures the whole breaks feel.”

Send In The Clowns – Gang Banging in L.A.
“I watched this documentary about Klownin’ in L.A. Have you heard about it? Gangs get together and in South L.A and instead of fighting, y’know, gangbanging, they get together like a dance troupe and all paint their faces up, it doesn’t sound real does it, then these gangs go against each other with really fast body-popping. It’s much faster and more muscle freestyle. They move their arms and legs in ways that don’t look possible. Then they have these face-offs called Krumpin’ – bouncing into each other, girls facing off against boys, girls facing off against girls. They let all their fucking anger and shit out.�