Canadian born Mathew Jonson really is one of a kind. Making music since childhood, he’s developed one of the most distinctive voices in electronic dance music: when you hear one of Jonson's tracks, you almost immediately know it's his. And yet there's no mistaking any given track for another. His first releases on Itiswhatitis (which he now owns) were collected devotedly by the fabric staff. Many of his renowned solo works - and also with his other projects Cobblestone Jazz, Modern Deep Left Quartet and Midnight Operator (with his brother Nathan) - appear on his own Wagon Repair imprint. He came to international prominence with his releases on M_Nus, Perlon (with Luciano) and Sub-Static. He’s remixed everyone from Nelly Furtado and Moby to The Chemical Brothers and Model 500. Mathew made his fabric (and London) debut in 2003 playing live, then as he does now, with a host of analogue machines, wild hair bouncing as he programs on the fly and an air of mischief that lends every Jonson live set a uniquely dangerous thrill.
"I’m really happy and honoured to release this set from the last fabric birthday party as my first commercial live recording. It couldn’t be a better fit.
" Mathew Jonson
fabric 84 was recorded during Mathew’s live show at fabric’s 15th Birthday. The stand out set of the night, it was clear to the fabric team that they wanted to release this as part of the mix series. Starting things off with Cobblestone Jazz’ ‘Northern Lights’, his haunting ‘Marionette’ nestles amongst other MJ classics like ‘Decompression’ and ‘Learning to Fly’, as well as remixes for Subb-an and Tobias. - with his closest and longest collaborator, The Mole. A crucial detail can’t be left out, Mathew’s attire that evening was a full body Japanese bunny suit, as fabric’s birthday is always a hedonistic fancy dress party. After a strong techno start he easily blends in some of his extended mixes of ‘Decompression’ leading up to a mash up of ‘Ghosts in the AI’ as well as many of the unreleased tracks that keep his live set so fresh. He ends with his Acid Mix of Kevin Saunderson’s ‘Good Life’ as a perfect finale.