Linus Love, hailing from Glasgow, Scotland, is Duncan Reid, co-owner of Breastfed Recordings with Mylo and Kevin McKay. From 2003-2005, Linus Loves has been a collaboration between Reid and McKay.

They duo are characters you may find behind a mixing desk, in the DJ booth at midnight, out spraying walls with slogans in the dark, swapping edits online or at the side of the stage ready for the right moment.

Lately, Linus Loves has been main man Reid with input from John Clarke and Kevin Kennedy, one of the partners in Breastfed.

Following the phenomenal crossover success of Mylo's "Destroy Rock 'n Roll" album comes the debut from Linus Loves. Most importantly, Linus Loves is the personification of the most consistent idea that has always informed dance music - the idea that tomorrow's music is ready to be invented today from the discarded pieces of yesterday's music.

Inspired by the maverick genius of Drummond and Cauty, Linus understands all music can only ever be the sum of what has gone before it. There is no lost chord, no extra notes to the scale or hidden beats to the bar. Talent borrows, genius steals.

"I always had the feeling that making music was some mystical process that only certain people can do," said Reid. "But it isn't. This project says, 'I love these records and I want to make records inspired by them.' There was never any massive claim to original material - just an inspiration to be involved in what comes next."

Reid has been active in twisting the course of electronic music from deep in the margins for several years now. In 2003, "The Terrace," which stole Stevie Nicks' "Stand Back," pumped through the international clubland. In 2004 "Night music" was a staple in sets by Erol Alkan, Mylo and Soulwax. The Balearic flipside "Bene and Angela" ended up in Rob Da Bank's Blueroom tune of the year. "The Victoria Principle" EP followed in 2005 with a mix of twisted electronic pop and harder club tracks. Linus Loves provided remixes for Plant Life, Mattafix, Husky Rescue, Ran Shani and Mylo among others.

Linus Loves is innovative in a genius way as Reid plays 10cc's "Waterfall" on vinyl at 45 rpm to make it his own. The first album, "Stage Invader" that came out last May, was an instant hit in Europe and the United States.

On the disc, Linus resurrected retro-futurist analogue arpeggios with punch-drunk 808 snare patterns. Meanwhile, the track "Rock Chk" managed to connect a line between Kraftwerk and Fleetwood Mac, whilst capturing the spirit of both. The result was "Stage Invader," a patchwork of cross-references, a Frankenstein of an album with influences that are clearly audible across all 12 tracks.

But there is no need to be familiar with these artists to enjoy "Stage Invader" - they are only source material. What counts is the ambition to take leftfield music into the mainstream, where it is desperately needed.

The key point is to being there on the dance floor with Linus Loves is that it makes you cool.

It will definitely draw a group of new wave rock fans and club-goers together on the same dance floor. The debut album is a rhythm-box electronics of mid-1980s dance music. It is fabulous for all you 1980's influenced dance fans. But that's not it.

As a prelude to its next album, Linus Loves drops a four tracker that boasts "We've got so many good tracks we can throw a load of exclusives on an EP just to wet your appetite."

Reid has been active in twisting the course of electronic music from deep in the margins for several years now. In 2003, "The Terrace," which stole Stevie Nicks' "Stand Back," pumped through the international clubland. In 2004 "Night music" was a staple in sets by Erol Alkan, Mylo and Soulwax. The Balearic flipside "Bene and Angela" ended up in Rob Da Bank's Blueroom tune of the year. "The Victoria Principle" EP followed in 2005 with a mix of twisted electronic pop and harder club tracks. Linus Loves provided remixes for Plant Life, Mattafix, Husky Rescue, Ran Shani and Mylo among others.

Linus Loves is innovative in a genius way as Reid plays 10cc's "Waterfall" on vinyl at 45 rpm to make it his own. The first album, "Stage Invader" that came out last May, was an instant hit in Europe and the United States.

On the disc, Linus resurrected retro-futurist analogue arpeggios with punch-drunk 808 snare patterns. Meanwhile, the track "Rock Chk" managed to connect a line between Kraftwerk and Fleetwood Mac, whilst capturing the spirit of both. The result was "Stage Invader," a patchwork of cross-references, a Frankenstein of an album with influences that are clearly audible across all 12 tracks.

But there is no need to be familiar with these artists to enjoy "Stage Invader" - they are only source material. What counts is the ambition to take leftfield music into the mainstream, where it is desperately needed.

The key point is to being there on the dance floor with Linus Loves is that it makes you cool.

It will definitely draw a group of new wave rock fans and club-goers together on the same dance floor. The debut album is a rhythm-box electronics of mid-1980s dance music. It is fabulous for all you 1980's influenced dance fans. But that's not it.

As a prelude to its next album, Linus Loves drops a four tracker that boasts "We've got so many good tracks we can throw a load of exclusives on an EP just to wet your appetite."

Everybody love good music that moves us, and we all love the cheerful 1980s even if we say we don't. Club BonBon's Lunar New Year DJ list is full of surprises from one genre to another, and it's defiantly fresh and daring.

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