I first met Milo Smee (Bintus, Kruton, Chrome Hoof) around 2004, when a friend of mine moved into a flat he was living in. At that time I had only heard the name Kruton whispered in cautious tones from the dark corners of Hackney boozers, and Chrome Hoof was a four-body unit. One of the most striking things about that flat was the toilet. It was, wall-to-wall ceiling-to-floor, plastered in counter-cultural ephemera, from Chris & Cosey postcards and Funkadelic posters, to pictures of Bobby George standing in an English woodland, with candlestick in hand and gold cloak on back, looking like some ancient mystic forest-dweller. Another memorable aspect of that flat was the garden. But you can see the garden. Occasionally when I was round visiting, Milo would have the tape deck rolling, and emanating from that tape deck would be the sounds of old-school Acid and rugged breakbeat Techno, mixes Milo had made back when underground dance music was still a truly challenging and provocative medium, that had parents and general naysayers running shit-scared. Recently Milo decided to digitise these tapes, starting with this one. With this mix we not only have an insight into some of the influences that have built Milo’s musical mythos, but also look back to a time when the dissemination of subcultural information wasn’t as easy a pursuit, and the swapping of cassettes was for many the only way to hear such records.