01 // [REF//30YR_LOG]30 YEARS OF UNDERGROUND SIGNAL.
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[CONTENTS//ARCHIVE_SYSTEM]THE EVOLUTION OF A SONIC OBSESSION.
Thirty years spent creating music, mentoring others, and mastering the tools of the studio. My beginnings were rooted in the underground London sound system scene before transitioning onto the international stage, working, producing, and living across Tallinn, Bristol, and Berlin, before eventually settling here in Oxford.
First and foremost an artist and educator, this timeline serves as a functional record of a lifetime dedicated to sound, and the rigorous engineering standards that have run alongside it. It documents the real-world, frontline industry experience that directly informs the structure of Jarman Music today.
02 // [CONTENTS//UK_SOUND_SYSTEMS]SOUND SYSTEM CULTURE.
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[EXHIBIT_01//DRUM_&_BASS]RAIDEN.
My entry into sound system culture began by quitting a soul-destroying job soldering weapon guidance systems. I spent my savings on a basic computer, went on welfare, and locked myself away to master studio craft.
THE BREAKOUT. I spent months travelling to clubs at the end of the 90’s, handing physical demo CDs directly to headliners. This paid off when I passed a track to label resident Keaton in Brighton; he and DJ Friction championed the music on the dancefloor and brought it directly to Clayton, the Renegade Hardware label boss. This organic peer backing led straight to my signing and the release of my breakout anthem "Fallin'" (2002). The record blew up globally, pioneering a signature style that collided dark techno rhythms with the raw speed of drum and bass, instantly securing my residency on the label.
THE MIXDOWN. Joining the label threw me into a fierce, highly competitive UK movement. Centred around our legendary bi-monthly residency at London’s premier venue, The End, the baseline objective was to engineer uncompromising tracks capable of destroying the world's most demanding 60k+ Thunder Ridge sound systems. Navigating this era taught me how to operate strategically and protect the value of a landmark record. Mastering sub-bass structures and aggressive transients to maintain perfect clarity under immense club pressure served as a definitive, ten-year proving ground for my technical engineering standards.
THE TRAJECTORY. This era launched a decade of intense international touring, flying to different countries every weekend across Europe, USA, Japan, and Australasia. Deeply inspired by the intricate rhythms encountered during my first tour of South America, I bought a wealth of traditional instruments, filled a suitcase with the percussion, and shipped it back to Europe. This sparked the launch of my label Voodoo, pioneering a minimal, tribal drum and bass sound built on raw, hand-recorded rhythms, alongside running OffKey Recordings to push the technical limits of the techno-d&b hybrid. Choosing artistic integrity over comfortable commercial trends built an uncompromising global reputation.
03 // [CONTENTS//TALLINN_FIELD_LOG]the Tesla coil Recordings.
[HIST_03//V10.05//OPERATIONAL][EXHIBIT_02_MOV//SPARKS_OFFICIAL_MV][EXHIBIT_02//EMR_CAPTURE_LOG]DEAD SKIN CELLS LP.
Moving beyond conventional studio environments, this phase was defined by a commitment to raw, real-world sound exploration under the Kamikaze Space Programme alias.
THE CAPTURE. A defining session took place at the Tallinn Energy Museum in Estonia. After observing my independent field recording work, the museum staff provided specialised access to their dual Tesla coil array. Using custom induction pickups attached directly to a Faraday cage, the intense high-voltage arcs were recorded directly from the source as pure electromagnetic audio signals.
THE TRANSLATION. This session yielded the track "Sparks", forming the creative anchor for my full-length vinyl album, Dead Skin Cells, released on Osiris Music. The entire project was built on systemic experimentation, combining raw environmental foley captures with classic, heavily sliced drum breaks and deep sub-bass configurations. To unify these conflicting elements, I spent months mastering traditional analog dub-mixing principles inspired by King Tubby, ultimately processing and finalising the entire record through a vintage Trident console at Berlin's historic Funkhaus.
THE PERFORMANCE. The album cycle eventually expanded into a full-scale live audio/visual performance debuted at LEV Festival in Madrid. This live presentation synchronised the intense, textured industrial compositions of the Dead Skin Cells material with striking visual renderings, turning a spontaneous museum recording session and a rigorous studio workflow into a powerful, immersive physical experience on an international stage.
04 // [CONTENTS//KSP_RESIDENCY]REINVENTION & SOUND DESIGNS.
[HIST_04//V10.05//OPERATIONAL][EXHIBIT_03_MOV//DUST_OFFICIAL_MV][EXHIBIT_03//BERGHAIN_&_TRESOR]Kamikaze Space Programme.
Marking a complete creative turning point, this phase began with a definitive cliff-edge choice to walk away from a highly successful ten-year drum and bass career.
THE REINVENTION. Refusing to repeat a comfortable formula for commercial security, I launched the Kamikaze Space Programme alias, a process that required completely dismantling and rebuilding my studio workflow from scratch. The transition was a gruelling, two-year creative crossfade; I privately wrote up to 50 tracks, discarding the failures while systematically teaching myself an entirely new, avant-garde sonic language. Just at the point of creative exhaustion, a sudden SoundCloud message arrived from techno pioneer Luke Slater, who recognised the raw individuality of the music and immediately signed KSP to his legendary Mote-Evolver imprint.
THE PROVING GROUND. This artistic evolution culminated in moving to Berlin and reaching the live peak of the KSP project, secured by regular performances at the absolute headliner level of European club culture, including Berghain and Tresor. Performing inside these cavernous, brutalist concrete spaces required a specialised approach to studio production. Tracks were deliberately engineered with sharp, distinct transients and precise low-frequency foundations to cut through extreme room reverberation, ensuring complex industrial structures maintained their clarity and physical impact at immense club scale.
THE INTEGRITY. Having successfully navigated multiple eras of underground electronic music, this archive documents a continuous commitment to artistic integrity over superficial industry trends. Rejecting the shallow concept of "networking", my career logic has always relied on nurturing deep, organic relationships with trusted peers and label heads, such as a 20-year parallel friendship with Osiris Music boss Simon Shreve. Operating with a tight, intentional circle and choosing smaller, trustworthy platforms over hollow commercial gains has preserved a pristine catalogue and a lifetime of raw, real-world experience.
05 // [CONTENTS//ZONE_FIELD_LOG]THE EXCLUSION ZONE expedition.
[HIST_05//V10.05//OPERATIONAL][EXHIBIT_04//EMR_FIELD_RECORDING]Chernobyl.
Driven by a personal focus on recording hidden sound environments, this independent project involved travelling directly into the Chernobyl Exclusion Zone to document its invisible electromagnetic landscape.
THE CAPTURE. Operating in the areas surrounding Pripyat and Reactor 4, the objective was to harvest completely unmapped, raw atmospheric frequencies, exploring the stark sonic textures of a decaying, abandoned environment.
THE BREAKDOWN. The primary receiver utilised for the session was a Soma Ether, a specialised wide-band device built to capture ambient interference. As the recording sessions progressed deeper into high-contamination zones, the intense environmental factors pushed the hardware past its operational limits. The internal circuitry began to overload and fail, steadily degrading the audio signal into harsh, non-linear distortion before the hardware ceased functioning entirely, capturing the actual physical breakdown of the components on tape.
THE ARTIFACT. Upon contacting SOMA Labs regarding the component failure, the technical support dialogue was abruptly terminated the moment the device's exposure to the radiation fields of the Exclusion Zone was revealed. The broken unit remains in the studio archive today, a completely non-functional, physically altered artifact of the trip that documents a definitive, real-world boundary line for studio gear under extreme environmental pressure.
06 // [CONTENTS//DOT_PRODUCT]AVANT-GARDE & SONIC ART.
[HIST_06//V10.05//OPERATIONAL][EXHIBIT_05_MOV//TV_AV_PERFORMANCE_PREVIEW][EXHIBIT_05//SONIC_FRAMEWORK]DOT PRODUCT.
Operating as a collaborative project alongside Adam Winchester, Dot Product was built on a strict sonic framework: creating electronic music exclusively from unconventional sound sources and invisible environmental textures.
LIMITATIONS. Rather than relying on standard computer software or traditional synthesisers, the objective was to capture the hidden chaos around us, such as the continuous, silent cloud of electromagnetic waveforms and radiation within objects, and make it audible. By extracting raw audio from an isolated source or environment and completely removing its context, we organised sonic chaos into entirely new, processed instruments where the listener has no concept of the original origin.
THE EXPLORATION. This clinical approach to sound behaviour led to a deep studio discography, including two full-length avant-garde albums released on vinyl via Osiris Music. The project’s radical sonic footprint resulted in high-profile collaborative milestones, including a specialised split-release EP with legendary Japanese noise artist KK Null. Most notably, the BBC Radiophonic Workshop invited Dot Product to remix and collaborate using the archival recordings of pioneering tape-composer Delia Derbyshire, a project subsequently featured on the cover disc of Electronic Sound magazine.
THE ORBIT. The live incarnation of the project reached its peak in 2016, where we performed a live audio/visual presentation on the main stage of the prestigious Berlin Atonal Festival. The impact of this performance instantly expanded our creative orbit; weeks after watching a documentary on German psychedelic rock, Renate Knaup, the legendary singer of Amon Düül II, witnessed our Berlin Atonal set and personally requested a collaborative live project. This timeline anchors the exact crossover point where pure sonic art meets international counterculture.
07 // [CONTENTS//WATERCRAFT_OBS]WATERCRAFT.
[EXHIBIT_06//FIELD_LOG_ANGLING]SPECIMEN LURE ANGLING.
THE OUTLET: Outside of the studio, focus shifts entirely to specimen and predator angling, a pursuit built on observation, raw persistence, and decades of wild bank time.
THE LOCAL VIEW: Living directly on Hinksey Lake and the River Thames, local identity is defined by the water. Across the local area, reputation is anchored purely as the specimen fisherman guy who is always out on the bank.
THE TRACK RECORD: Meticulous tracking has resulted in a lifetime wild logbook, headlined by a regular string of massive 3lb+ perch, numerous specimen fish scaling over the 4lb mark up to a 4lb 3oz monster, and multiple captures published in the Angling Times.
THE CONTEXT: While firmly established on the banks as an angler, most locally haven't got a clue that when the rods are down, the rest of the week is spent quietly running audio engineering sessions in the studio nearby.
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