Ransom Note

1-800 GIRLS has quickly paved a way for a brand of new school House music which has been heavily adopted and loved by a new generation of dancers who have found solace in high energy moments and deep grooves.

Over the years, as a producer, the consistency has always been there. Whether it's from early self releases through to fresher material which has found a home on the likes of Lost Palms, Shall Not Fade and All My Thoughts.

As a DJ, the 1-800 GIRLS sound is fun and fluid - evolving through moments of euphoric energy which can then be tamed and paired back with deeper, emotive sounds which perhaps reflect his early inspirations when leaning into electronic music.

Things have moved fast for the 1-800 GIRLS project.

This mix was recorded at Phonox, straight from the booth at a recent night curated by 1TBSP.

We have your nightclub. We have your DJ box. We have thirty-six tracks, and most of them have no names because names are for records that want to be found.

This is Decius Trax – the loose, sweaty, pressure-relief side of a band that otherwise runs on pure discipline. The album project blends Lias’s voice into something unique; this is the other thing, the vehicle, the late-night chop shop where old cassettes get squeezed through the Decius filter until they come out the other side as someone else’s record wearing a new coat. Live jams, minimal tinkering, heads banging on the assumption that yours will too.


Most of what’s here you’ve never heard, because most of it was never meant to leave the DJ box. Untitled. Unreleased. Numbered like ransom demands instead of songs, because the numbering is the point – roman numerals climbing toward a second vinyl mini-album, a whole Pantone chart still to get through, no plan to stop until it tips into ridiculousness.

Don’t remix it with AI. Don’t expect liner notes on the next one either. Just make them, play them.

Track list and read the room – it’ll come with you eventually. It always does.

FULL INTERVIEW HERE: https://www.theransomnote.com/music/mixes/decius-trax-the-ransom-note-mix/

Psychedelia is at the core of Zillas on Acid's musical manoeuvres. The Philadelphian duo, made up of Thomas Roland and James Weissinger, have been DJing together for almost two decades, and you can tell. 

There's an intuitiveness to their sets; one that comes from an extended period spent building and evolving together. Their strung out, trippy sound takes cues from post-punk and acid house approached through that psychedelic lens they've become known for.

It's no surprise then that they've been closely affiliated with Making Time, the Philadelphia institution helmed by Dave P, that treads similar transcendental terrain.

Over the years they've notched up releases for some of our favourite labels, including Optimo Music, Live at Robert Johnson, Les Disques de la Mort and Running Back, and now they're bringing this music to life with their live band, adding vocalist Ari Ratner and bassist Matt O’Hare into the mix.

Their latest offering, Rolling The Marble Wheel, comes via our sister label Human Endeavour and is Zillas at their best (not even biased...). Following the release, we asked them to contribute to our Ransom Note mix series. Dive into the Zillas world, it's a trip...

The clockwork planet was a man-made world the size of a small moon. There were oceans, forests, cities, and even weather systems created by climate-control satellites. It was constantly in orbit. 

Its energy came from an array of fusion reactors positioned around the habitat's central axis. Massive superconducting rings distributed power to every district, while millions of solar satellites collected energy from the nearby star and beamed it back using microwave transmitters. The habitat's atmosphere, temperature, and water cycle were all controlled by artificial intelligence system. 

It all worked seamlessly. Except until today, when the oceans stopped moving. 

Olsvangèr draws for the bass weight on a new EP which features a heady assortment of rave driven breaks, crunchy house and rugged sounds for Tofistock.

Long before The Ransom Note had a name. Long before Team Love had a manifesto. Dave was always there. Usually near the speakers.

Two festivals, one philosophy. When Love International made its pilgrimage to Rainbow Disco Club, it wasn’t simply a case of a Croatian institution touching down in Asia – it was two kindred spirits recognising themselves in each other. Born in Tokyo in 2010, Rainbow Disco Club has always operated under a single guiding concept: “Beyond Space and Time” – a commitment to authentic underground music that transcends genre, geography and trend. Alongside these club nights in Tokyo the annual event as you’ll likely know, takes place in the Japanese countryside of Shizuoka’s Izu Peninsula/ Love International, meanwhile, as many of you will also likely know, draws a loyal family of returning artists, crews and ravers to the shores of Tisno each summer for what amounts to a celebration of sun, music and community.

Different latitudes, identical heartbeats. And yes – before you ask – we did make him answer questions about rainbows…

WhatsApp Image 2026-06-10 at 21.00.26 (12)

We’ve known Dave Harvey a long time. Long enough that neither of us is entirely sure when it started – somewhere in the blur of the 90s, in rooms that probably no longer exist, with people we’re still lucky enough to call friends. Long before The Ransom Note had a name. Long before Team Love had a manifesto. Back when it was just about getting to the right room on the right night and staying as long as humanly possible. Dave was always there. Usually near the speakers.

Watching what he’s built since then – and more importantly, how he’s built it, with the same unguarded enthusiasm he had at the very beginning – has been one of the genuine pleasures of growing up in and around this ‘scene’ together. Because the thread has always been consistent. Whether as a DJ, programmer, promoter, or raver, there are few dancefloors he hasn’t graced, and fewer still where he hasn’t left some kind of mark. Since cutting his teeth in those 90s rooms, he’s built an inimitable sound that moves freely between house, techno, breaks and electro, EBM, wonky chuggers and disco-infused oddities – often all within the same set.

Here he is, doing exactly that. Captured live at Rainbow Disco Club, in case you needed any further evidence. The rest, we’ll let the colours speak for themselves.

@loveintfestival
@rainbowdiscoclub
@futureboogie