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An engineer by trade, Luke Gordon (Spacer) cut his teeth as a tape operator at London's Milo Music. Having brushed shoulders with The Sandals (or should that be touched toes?), La Funk Mob, and Chris Bowden, Gordon produced his first track in '93 with fellow Milo engineer Pete Hofmann. Breakbeat au poin, the single kick-started Howie B's now infamous Pussyfoot label. Gordon followed it shortly afterwards with his debut full-length, Atlas Earth, which established Spacer firmly on the dance music map. For the album, Gordon drafted Chris Bowden, Ian "Jury" Simmonds, and childhood friend Max Moore. The result is a highly intoxicating blend of futuristic breakbeat sequenced with experimental psychedelic sounds. Gordon's '97 follow-up, Sensory Man, delved even deeper into experimental breakbeat with an emphasis on innovative production methods.

The following year, Gordon applied his talents to the live setting, both solo and alongside Simmonds (as Spacer vs. Juryman). In between gigs Gordon found time to produce Red Snapper's sophomore album, Making Bones, and to remix tracks for Naked Funk, Pulse, and Simmonds. This brings us up to his third album, The Beamer, released on Pussyfoot/Palm Pictures. The Beamer is more dance floor-friendly than Gordon's other conquests, due in part to his status as an in demand DJ. Importantly, the tracks are no less musical. His experimental sounds have been beefed up with added bass and more structured beats. Gordon, along with his wife and daughter, relocated to Dordogne, France to record the album. There he was joined by session musicians Tim Weller (drums), Simmonds (bass), and Max Moore (keyboards). He also got a helping hand from a few locals (the violin on "Houston" is played by an old geezer who lived down the road). While the album as a whole takes in elements of drum and bass, breakbeat, house, techno, future-jazz, and even acid-house, our featured track, "The Beamer," defies categorization by way of its fast-forward breaks, dark brooding synths, and high-level production.