Playlist of the Week: Opus III (Kirsty Hawkshaw)

Back in October '92, I was on tour in Japan with Opus III, Fabio, MC Flux, and Sarah Sandy from Groove Connection, Sarah was responsible for one of the most relevant Jungle agencies at the time and the historic club Speed which is still around today. During those intense and sometimes gruelling travels, Fabio gifted me one of his mixtapes on the tour bus. I would immerse myself in it, headphones on, staring out the window. Jungle was my favourite genre, though I had no idea what tracks were playing until years later when the internet revolutionised our ability to identify those elusive tunes we still heard echoing in our minds and nervous system. This track, "Kemistry," firmly holds a spot in my top ten favourites, as its emotional depth resonates deeply with me. Fun fact: it was Sarah Sandy who coined the term "Drum & Bass"; back then, we simply referred to it as Jungle.

For years, I mistakenly believed this track was called Beltaine! At nearly every free party I attended in the early '90s, this tune would drop, and I would confidently proclaim it as THE track to ignite the crowd.

Describing this track as chaotic barely scratches the surface. In the early '90s, dancing transcended mere movement; it became a shamanic journey, a profound unraveling of the self. The intention was to delve deep within, purging the traumas that lingered from the constrained formative years of the '70s. Each beat beckoned us to release, to heal, and to reconnect with our true essence.

Now, this track is pure joy. My 20-year-old self, fueled by the beats, hugging random strangers like we were long-lost friends or launching myself into the air on my imaginary pogo stick. Arms flailing wildly like one of those inflatable tube men dancing outside a car dealership. Who needs coordination when you have jazz hands!

It’s December 1991, and we’ve officially taken over the Roundhouse in Camden. The first few days of squatting felt heavy and dank. The place had a bad energy that practically clung to the walls, like dark secrets, and it was screaming for a serious purging! By the end of those days, we had done our job; we shifted that darkness out and cleared the space like a team of spiritual rave cleaners. Amidst all the chaos, this track stands out in my memory like a neon sign, and the absolute joy that erupted when it dropped was nothing short of pure glee!

I first heard "Where Love Lives" by Alison Limerick back in 1990 at a farmhouse rave with some old school friends who would later go on to start the Spiral Tribe movement. At that time, I was quite shy and socially awkward, struggling to communicate and speak my truth. Dancing with my friends helped me to overcome those social obstacles, and I will cherish this song forever as a happy memory.

The essence of "Circles" resonates deeply within me, a classic drum and bass track that first graced my ears on a mix tape back in '95. I vividly recall that journey from Devon to London, the night sky illuminated by the mesmerising Hale-Bopp comet, its ethereal glow resembling a portal of light. That moment, paired with the pulsing genius of "Circles," created an unforgettable experience. No matter how many times I listen to it, I never tire of its captivating production. Fate had a delightful twist in store for me when I married Adam, who passionately remade this classic for the "Revisited" version. The countless hours spent listening to his reinterpretation only deepened my appreciation for the track. One of the highlights was the opportunity to contribute a cameo keyboard line. "Circles" has secured its place in my top ten tracks, an indelible part of my musical identity, woven into my very DNA. It’s a timeless piece that I cherish and celebrate, a reminder of love, nostalgia, and the beauty of music that transcends time.

I once did a backflip to this track. I was outside the greenhouse on Chippenham Road, where I was currently living with the spiral tribe. When I heard it come on, I rushed into the house and literally lost my shit with absolute joyful abandon. It’s amazing what an effect some tracks can have, and I wish I was still as agile.

I remember a moment at a festival where my late friend Sally Harding and I were in the crowd watching Orbital and we both desperately needed a number 1. The engineer Mickey Mann was in the middle of the area on some scaffolding. So we cheekily crawled under Mickey's desk and relieved ourselves for fear of missing "Chime." Belfast was a sunrise moment, and holds very special memories for me. Those days were so much fun.

When Simon (Shadow Child) sent us this rework of "Fine Day," I was so excited as he really captured the essence of the original version, which first came out in '92. There are so many different mixes out there now, and this one got through to us. Adam contributed some lovely extra elements and I re-sang it.