Q&A: Deciphering the MachineCode – What’s Happening With the Label, the Duo and ‘Technoid Drum and Bass’ in 2025 and Beyond

It’s been a fair few years now that producers Tim Current Value and Dean Rodell have been working together as the sci-fi-tinged, experimental duo known as MachineCode, but their acquaintance extends far before and beyond. Both established artist in their own right, with Current Value being on the forefront of experimental and hard D&B since the late 90s and Rodell pushing similar boundaries in the techno world. They’ve been combining efforts long before being on most punters’ radar, with their first releases together appearing on Subtrakt all the way back in 2009.

Current Value, Rodell and Machinecode as a collective have always had a Wild West approach to making music, so it should be no surprise that when it comes to MachineCode Recordings, there’s an element of ‘anything goes’ to the recent release roster. With the advent of Current Value’s new ‘CV’ moniker, the switch to the label being ‘MCR’ on Bandcamp, new, highly stylised branding and the focus on ‘technoid drum and bass’, however, now seems like a good time to get some clarification on what exactly the cutting edge outfit are plotting for the dance music world.

Following their most recent EP Redshift 7, which features the afore-mentioned CV name and another surprise in the form of Current Value releasing on Souped Up, Dean and Tim thought it wise to have a sit-down with the Mag and do some ‘splaining. They chatted concept, colour and community, and we were able, to the extent possible with these two human cyphers, to decode the MachineCode.

There have been some shifts recently in the way you are releasing music. Can you walk us through the differences and relationship between Current Value, MachineCode, and the new moniker CV? What was the reason for creating it? 

Tim: CV was created to explore a more experimental and technoid sonic direction while remaining connected to the Current Value brand. It represents a focused evolution merging techno’s hypnotic rhythms with drum and bass pressure. For example, EPs like Redshift 7 showcase this loop-driven style with sci-fi textures and relentless energy. 

MachineCode, on the other hand, is rooted in raw, industrial techno and leftfield D&B. It is always a collaborative experiment between Dean and me during live recordings, giving MachineCode its distinct sound. 

How did these new projects and the development of MCR come about? 

Tim: MCR was born out of a shared vision with Dean to create a label that could house our experimental and technoid drum and bass, pushing the sound forward from the early days of Subsistenz. The technoid ethos aligns well with CV and the broader sci-fi conceptual influences that drive both mine and MachineCode’s music and visuals. 

With MCR, we aim to create a space not just for ourselves but for other artists who resonate with this ethos to explore and push boundaries. 

Your new EP, Redshift 7, is labeled as ‘technoid drum and bass.’ What does that mean stylistically for you? What are some characteristic sounds within the EP that will help fans connect with it? 

Tim: The term ‘technoid’ refers to a fusion of techno and drum and bass elements, a style that emerged in the mid-to-late 2000s. Back to the Machine on Subsistenz, my first album dedicated to this techno crossover, embodies this sound. As it was then, it remains now; all about combining the relentless, looping energy of techno with the complex rhythms and tempo of drum and bass. The result is a sound that feels both mechanical and organic; a journey through sound. 

Stylistically, Redshift 7 builds on this foundation by incorporating several key elements: half-bar loops and hypnotic structures that keep the energy cycling while creating space for intricate layering. Fans familiar with older tracks like ‘Hydraulix 9′ by Proket or MachineCode’s ‘Mechanisms’ will recognize the influence, but they’ll find it evolving into something more refined and exploratory in this release. 

Is technoid DnB what you plan to focus on moving forward in 2025? 

Tim: For CV, yes, this will be the focus moving forward. The technoid sound captures the essence of what I want to explore with this moniker: cold, precise, and forward-thinking. 

Dean: For MCR, however, the label will remain more eclectic. While technoid elements are at the core, we want to stay open to tracks that inspire us, regardless of genre. For example, recent tracks by HYE TEK and AR8 aren’t strictly technoid but still align with the MCR ethos of ‘cold, distant, untouchable space’. 

Do you plan to bring more artists onto the label apart from CV, Current Value, MachineCode, and DR? 

Dean: Absolutely. MCR was always intended to be a platform for both established and emerging talent. We’ve already worked with artists like HYE TEK, AR8, and Cooh, and we have some exciting tracks in the pipeline from newer artists who are just beginning to make a name for themselves. 

Our goal is to find and nurture artists who resonate with the MCR sound and aesthetic. We’re particularly interested in collaborations that push boundaries and bring fresh ideas to the table.  We’re committed to fostering a community-driven approach. Through our MCR Facebook group, we’ve seen a wealth of knowledge and ideas from our long-time supporters already.  

MCR releases seem to hinge on a concept. Is there a story behind them, from The Observers to Redshift 7? 

Dean: There’s definitely a conceptual thread running through the releases, though it’s more of a loose framework than a strict narrative. Themes often revolve around sci-fi, space exploration, machine consciousness, or even government-alien conspiracies. 

For example, The Observers was inspired by the idea of surveillance and observation on both a cosmic and societal scale. With Redshift 7, we’ve shifted focus to space phenomena and the mysteries of the universe. These themes help create a sense of continuity across our releases while leaving room for interpretation. 

Is there a specific meaning to the imagery on these releases? 

Dean: The visuals are deeply inspired by our love for 70s sci-fi aesthetics. Think minimalist designs like THX 1138 and 2001: A Space Odyssey, combined with the bold geometric lines of 1920s Art Deco and Bauhaus design ideals. 

The imagery serves to reinforce the music’s conceptual themes—clean, futuristic, and slightly mysterious. It’s all about creating a cohesive experience that feels immersive, from the sound to the visuals. 

The sound of MCR releases is quite different from anything you’ve done before. What sort of hardware, programming, and techniques were involved? Was there much experimentation in the studio? 

Dean: The noticeable sound changes in production for MachineCode and CV on MCR releases stem from the move from Ableton to Bitwig, which has now become the backbone of our workflow. Bitwig’s modular approach really fits with how we work, and it sounds phenomenal. 

Tim: MachineCode’s production process leans even more on experimentation. Dean and I often spend hours in the studio doing live takes, experimenting with outboard effects, and exploring feedback paths. While most of the final sculpting happens in Bitwig, the process leading up to it is very hands-on and exploratory. This approach allows us to discover unexpected sounds and textures that we wouldn’t necessarily find using more traditional methods of sound design. 

What can fans expect from MCR that we haven’t discussed yet? 

Dean: One of our main goals is to involve fans as much as possible. Through the MCR groups, we’ve been able to connect with a passionate and knowledgeable community that has supported us for decades. 

Fans often reach out with ideas—whether it’s requests for remasters, suggestions for tutorials, or thoughts on potential collaborations. We’re listening and plan to act on as many of these ideas as we can. We also encourage producers to create their own spaced-out, psychedelic techno-D&B tracks and share them with us. 

In terms of events, we’re excited about the launch of MCR nights in Europe. These events will be technoid-focused and offer a unique D&B experience. Our first MCR event, which will have taken place at the Bunker Club in Sofia, Bulgaria, by the time this interview is published, will kick off a series of MCR nights leading deep into 2025. Stay tuned for more date announcements. 

Redshift 7 is out now on MCR and can be streamed on Bandcamp or purchased on Beatport.