The album's been out a year today, and I'm glad and relieved to report that it still seems to be attracting positive attention and discussion, which, in the disposable tune-a-day culture of drum and bass, is saying something I think. I received an email as recently as yesterday from a friend who'd not actually gotten the CD, bought it on Amazon, and told me "I've been listening to your album a lot and really loving it - I keep forgetting what I'm listening to because its so wonderfully diverse...[my wife] has been listening a lot too and she loves it!"

Thank you Malcolm, and congratulations to YOU!

Here's a little appreciation from Ireland and England, within the last week. Scotland, America, The Netherlands, Canada, and Ireland and England again check in here a few days ago.

I'm grateful to everyone who's supported the album. Grateful and moved by all the kind words and love it's gotten from all over the place; from dnb fans to suburban parents to jaded industry hacks to art snobs to weirdos to plain old, honest to goodness working adults. It never exactly blew up, hasn't taken over the world in sales, and hasn't gotten all the satanic Warners/Universals of the world banging down the door, and the London-centric dnb elite largely ignored it, but it continues to generate discussion and appreciation and seems to be holding up well a year later...if comments like those above and many of the others I receive are anything to go by. So, happy birthday my album. Number two with Amy on the way.

Right...that hideous piece of self-congratulation out of the way, I return you to the world of not-me.

I think part of what makes your album good, and important, even, is the fact that it came at a time when a certain segment of the scene really, really needed something to identify with outside of the whole two-step-and-shakers + filter sweeps approach to DnB production which so dominates things. That style of production isn't going away, obviously, and I don't think it necessarily needs to. But it's very nice to once in a while hear new Drum and Bass tracks that acknowlege, sonically, at least, their own historical and stylistic connection with post-hardcore DnB stuff from guys like Foul Play and Omni Trio, as well as stuff like Carl Craig, Derrick May and even polygenre stuff like Black Dog. It was, for me at least, a DnB record that admitted that the rest of the world exists, which was decreasingly the case up until 2002. Things have opened up slightly since then, which I'm grateful for, but for me at least, the knowledge of the impending release of that album project was one of the only things that bolstering my morale during that period. So I was really very, very excited when I got my promo copy in the mail, and its one of the only album-length Drum and Bass records I still listen to fairly regularly.

Congrats & happy anniversary, mi amigo! You can count this household as another still listening to & loving Everything All The Time.

Sorry I missed you at the Sat. party ... the buddies who went to find it for us managed to drive around Burbank / Studio City for an hour and then gave up & drove to Matt's house, where they found some very tired-ass people loading equipment but still happy to have a drink.

Talk to you soon ... can't wait to hear what you do with the dance-club version of Mama take another stand.

Thanks guys very much!

Analytic: wow...very perceptive and flattering read of those tracks. You just beautifully articulated a lot of my basic assumptions about what this music should be, or can be, or was. I'm thrilled to know that this probably fairly submerged part of what I was thinking and feeling is actually communicated. You're a very perceptive listener...catching the Carl Craig, Black Dog, and Omni Trio in there, as all three have been enormous favorites of mine. I just listened to the Nookie remix (or is it Alliance? I'm the worst spotter in the world; it's THE remix) of "Renegade Snares" a couple days ago again, and that tune still just completely lights up my imagination. To my ears, the imprint of those people can be directly heard on several tracks; Craig on "Stars...," Black Dog on "Un Amour Fou," and Omni Trio on "Trefusis Point," as well as to a lesser extent elsewhere. All that's not even taking into the account "the rest of the world," which for me, goes very deep into jazz, dub, and other electronica...at least as far as this album goes. Not much rock in it...that's the next one! [Muah!]

Okay, no more dissecting my album from me!

Ken: no worries about the party. It wasn't hard to find though! Paulo and his neighbor gave me directions. As you said, Brandon was very gracious and I felt at home with the few "dirty rock" people who did make it!

So does this mean you and Matt and Axel are committed to the remix idea? Let me know what you'd like to do and when.

I can't wait to hear the final mixes. It's going to be great man...congratulations in advance to you!

Cheers guys!