For Zander Hay – better known as The Burrell Connection – music has always been as much about people as it is about sound. His new EP for Craigie Knowes, ‘I Waste My Time So You Don’t Have To‘, arrives as the label marks its 10th anniversary, a milestone that means more to him than most. Not only has Zander released music with the Glasgow-born imprint, he’s also been quietly running their PR from behind the scenes since the early days, helping to tell their story to the world.
That dual role makes this release feel like a full-circle moment. The EP gathers together material shaped in the club, in the bedroom, and most importantly, in the company of friends. Lead cut “E Before I” has already been heard echoing through Berlin basements, including in a live version taken from Zander’s performance at Tresor, invited by LNS and DJ Sotofett. The B-side heads deeper, pairing the dubbed-out force of “Celestial” with the warm, widescreen pads of “Ensemble” – tracks that carry what he half-jokingly calls his “signature sound,” something he’s been chiselling away at for over a decade.
Zander speaks candidly about the title of the record, pointing to the endless hours spent in pursuit of something original. He’s unflinching in his criticism of DJs hiding IDs or passing off other people’s tracks as their own – a reminder that, for him, credit and community go hand in hand. “Music is not a luxury, it’s an essential,” he insists, and it’s clear that ethos drives not just his own practice, but also the way he moves through the scene.
That scene has taken him from Glasgow, where he cut his teeth at La Cheetah Club and soaked up records at Rubadub, to Berlin, where he now co-runs Slurp of the Antics with Valcat – a party deliberately centred on live performance in a city often saturated with DJ culture. Between the drizzle-soaked after-hours of Scotland and the intensity of Berlin’s underground, he has carved out a practice that feels both grounded and exploratory, rooted in place yet open to evolution.
At the heart of it all is Craigie Knowes. For Zander, the label’s story is bound up with his own – from being pushed creatively by deadlines and honest feedback, to finding genuine friendship with Max, Mitch and the wider CK family. “Friendship!” he says without hesitation when asked about the most rewarding part of his journey so far. That word runs like a thread through his reflections: from teenage trips to Sub Club on borrowed IDs, to afterhour residencies, to the countless connections made through music over the years.
As he sets up a new studio, offers tuition, and continues to develop his live shows, Zander isn’t slowing down. ‘I Waste My Time So You Don’t Have To‘ is more than a title; it’s a snapshot of where he’s at right now – committed, outspoken, and still finding joy in the graft. For him, the story of Craigie Knowes at 10 isn’t just about a label’s legacy, but about the friendships that make the music possible.
Interview by Tom Durston
"Craigie Knowes helped rebuild the scene there and then some. Watching the work of Max and Mitch grow along with a number of artists brings a smile. They put Craigie on the map!"
Your new EP is titled “I Waste My Time So You Don’t Have To” – can you please elaborate on this tongue in cheek title?
Thanks for having me! I think it’s a pretty accurate representation of what myself and a number of artists can relate to. If truly in this game to find a sound that’s our own then we’re the ones putting in the time and then some…too many fake cats in this scene jumping on board to stick their face on the work of others. Thankfully many I crossed paths with over the years have been the polar opposite of this, but I’ve certainly lost an hour or two in the process!
I’m not bothered if my music is on Soulseek. I was actually pretty chuffed the day I clocked I made the cut there. But if you’re making coin as a DJ playing it out then you should be paying the artists as well as crediting. Still too many DJ’s hiding the ID’s of producers / claiming it their own too! Music should be accessible for all and the craft that goes in shouldn’t go uncredited. Music is not a luxury, it’s an essential.
The track “E Before I” has been circulating in Berlin for a while before this release – how did it evolve from early versions into the record we hear now?
I perform live regularly these days. A lot comes courtesy of a party I throw here with Juliette (Valcat) ‘Slurp of the Antics’. We went a little tongue and cheek on the name as well as writing “1 in 3 people in Berlin are DJ’s” on the posters – we got a few scowls, but mostly the giggles we were after. Slurp of the Antics is us jumping on board, another collective taking a sip of what’s going down out there.
Of course, there are some next level crews here truly bringing some special energy to the scene right now but also why we decided to start a party with a focus predominantly on LIVE performances across the electronic spectrum. Our next party is this Sunday (07/09) at Arkaoda… if you’re around in Berlin then come on down!
But yeah.. blah blah blah this track has a few versions with elements I performed at these parties across different hardware and some I wrote in the box already. I don’t really fuck with samples much, aside from breaks (ye canny beat em!). The main chorus you hear there is me jamming keys on the Roland XP-80 and a gate from one of the Soundtoys plugins pulling my timing together.
Your live set at Tresor Berlin was not only a milestone gig but also left a direct imprint on this release. Can you talk about the experience of playing there and how it shaped your current approach to live performance?
It was a real pleasure, we had Stefan (DJ Sotofett) as a resident at the club I once helped run (La Cheetah Club) in Glasgow back in 2018 and we stayed in touch since. I had to pinch myself briefly when he hit me up out the blue to play Tresor. Laura (LNS) played a few times back then also so was a lot of fun to join them.
I was truly touched so many pals showed up, to play to so many there made it for me already. The sound system, tech team and all-round energy was next level. You can hear the full recording on Trushmix! A few months later I woke up to it being on Resident Advisor as mix of the day. Support from artists, venues, publicists and dancers like that is what keeps me at it.
"Like many artists in this game, I’ve probably released about 0.1% of all the tracks I ‘finished’. Currently I have 2 different shows – one is 106pm and the other 130bpm. I’ll write with a club in mind but often it’s to get some weight off my chest."
Do you approach tracks differently when writing with the idea of performing them live versus releasing them on a record? What does capturing a live cut bring to the record that a studio track can’t?
I don’t often begin writing music with live as the focus. My live shows are always growing and if it works, it works. Like many artists in this game, I’ve probably released about 0.1% of all the tracks I ‘finished’. Currently I have 2 different shows – one is 106pm and the other 130bpm. I’ll write with a club in mind but often it’s to get some weight off my chest. That’s how Dream_E ‘Dreams On 22’ came about.
When performing live the drums are always freestyle on the Elektron Analog Rytm, in some ways that allows me to adjust to a room that a studio track can’t do quite the same. Typically, the bass, a melody and pads I run through synths and perform on the spot (with some notes on an A4 to keep me half on track!) I mostly run my MIDI out of the Octatrack and into a Minilogue or JD-08 and can add sequences on the fly.
On the B-side, “Celestial” and “Ensemble” show that signature Burrell Connection sound — deep pads and basslines that feel very expansive. How did you approach the contrast between the A-side and B-side of this EP?
That’s a real honour to hear someone describe my sound as signature! Something that took years in itself! The tracks were written at different times and the A side at a point where I thought I should really start putting more effort to bring a chorus to my music!
Only took 10 years! So I guess that’s why you hear the ‘original’ sound more on the B side, but plenty more of that coming out soon. I’ve a few more releases in the pipeline this year and in the process of setting up a proper home studio. After all these years I’m pretty certain the best tracks come from the bedroom sporadically.
You’ve been with Craigie Knowes since day one, both as an artist and behind the scenes with PR. Looking back, what role has the label played in your own development as a producer and performer?
Yes! With RISEN PR Max and I started this together in 2019 and he handed onto me solo after I fell sick in 2020 and began getting back on my feet. I’ve been running it low key mostly with extended friends as well as intro’d further afield for the music I truly support.
In terms of development as a producer / performer they give me deadlines, honest feedback and a kick up the arse when I need it! They also submerged me in some pretty sick music over the years which has most certainly inspired and influenced me to write.
Craigie Knowes are celebrating 10 years this year. What does that milestone mean to you personally, having been there since the start?
I think for any business to make it this far is a milestone these days! Let alone named after a street in the middle of nowhere with next no scene. Craigie Knowes helped rebuild the scene there and then some. Watching the work of Max and Mitch grow along with a number of artists brings a smile. They put Craigie on the map! ‘Never give up’ they always told me! Personally, it makes me super proud of them and chuffed to be a part of the releases, parties and promo since day 1.
Having such a close relationship with the label, what makes Craigie Knowes unique in the landscape of Scottish and global electronic music?
In my no way shape or form biased opinion, Craigie Knowes sure as fuck have an ear for it! They truly blend a sound which has stood the test of time in Scotland and beyond – that’s a mix of old-school electro/acid with club cuts that remain forward thinking.
Music comes from a full range of established and up and coming artists and for me typing as the latter is really refreshing. Craigie Knowes have also gone out the way to raise money for charity since day one (particularly War Child) and continues to throw regular parties across the country.
Honestly though, in my eyes, half the reason the landscape in Scotland is so unique is the scene since the mid 80’s combined with the weather. Scotland surely has to be statistically one of the world’s rainiest spots, at least of the EU. When it rains it pours (and also folk get stuck inside, often submerged in music) – so much music comes from this and often a deeper sound reflects it.
"In my no way shape or form biased opinion, Craigie Knowes sure as fuck have an ear for it! They truly blend a sound which has stood the test of time in Scotland and beyond - that’s a mix of old-school electro/acid with club cuts that remain forward thinking."
As someone rooted in the Scottish scene but with strong ties abroad in Berlin, how do you see Scotland’s contribution to electronic music evolving right now?
Scotland is still thriving. Just because clubs shut earlier doesn’t mean the party ends there. A lot of this comes down to ‘The Unit’. The renowned after hours spot changing location and owners over the years but staying true to its cause. One of my favourite mixes of all time is recorded there, this one from Robert Hood live at The Unit in the early 2000s. You can really feel the parties coming together in that one.
I was a resident at the Lunacy afters spot for a while before it sadly had to close. An old pal and super sick producer also just opened up a new spot in the southside too, Glasgow’s the city that truly never sleeps!
Rubadub have been a huge inspiration for me since I was around 15. That’ll be half my lifetime next month!!! Back when records used to be £6.99 and since they do all the distro for key Detroit heads it meant limited funds went a fairly long way back then. You name it…. Underground Resistance, Aux 88, Orlando Voorn… new copies of gems from all the above were also bagged in the 2 quid bin on the annual Rubadub Day.
Things are trickier now post Brexit but they’re still at it! Recently I came across a few tapes of the founders Wilba and Marty from their parties back in the 90’s on Mixcloud and they’ve been on heavy repeat since.
Mitch CK threw a rave out in rural Aberfeldy a couple weeks back and this was so refreshing for me also. So many legends there together and for all the right reasons. When I was in my mid-teens I already had a glimpse of a beard so sneaking into Sub Club with my mates ID wasn’t too tricky.
After performing live at the rave and handing over the headphones to long-time residents there that I looked up to for many moons (Junior Sensu and Domenic Cappello) was pretty cool I must say. A full circle movement, I guess.
Feels rude not to voice a massive thanks to another Scottish label who released my music too; Optimo! Sending my thoughts to Keith, his family and loved ones. The scene wouldn’t be the same without him and Jonny! Truly inspirational and I feel lucky to have been a small part of their infinite journey. Jonny is still throwing a ton of parties in Scotland right now bringing the right people and sounds together and that in itself says a lot.
For more on the tip of Scotland’s contribution to electronic music (and then some) check out the 1995 documentary ‘Storming Sarajevo’ with the Desert Storm crew.
Looking back on your journey with music and Craigie Knowes so far, what’s been the most rewarding part?
Friendship! Life moves pretty fast. Max and Mitch behind CK, along with extended family member, long time brother and the DJ’s DJ; Dode (PX / Parts Unknown) who does the offshoot label Wormhole Wisdom with Max.
Legends I truly love to bits and my journey wouldn’t be the same without them. Along with a number of timeless souls, Mitch and Max gave me the support to stick at it and our friendship goes beyond releasing tracks! It’s the music that brought us together after all though.
Finally, what’s next for you beyond this record – are you focusing more on live shows, studio projects, or something new entirely?
I’m on the hunt for gigs. Half the reason I stuck my actual phone number on the centre label of my last record. Hoping to connect with some independent parties. I’m here for live and DJ sets after 15 years in the game.
I mostly only release recordings of me in clubs, or the one you at Inverted Audio included of me performing live as Dream_E at a rave in Berlin a few years back (IA MIX 351).
Perhaps this winter I’ll record some mixes from my bedroom for a change, but I’m confident the live shows will continue to evolve. I’m offering tuition again and in the process of setting up a second studio, excited for what’s to come!
‘I Waste My Time So You Don’t Have To’ is out now via Craigie Knowes. Buy a vinyl copy from Inverted Audio Record Store and digital from Bandcamp.
TRACKLIST
A1. E Before I
A2. E Before I (Tresor Live Mix)
B1. Celestial
B2. Ensemble
