https://defected.com/news/post/the-story-of-pete-hellers-big-love

There are tracks that artists sweat over for days and weeks that on release never quite catch on as their creators hoped; then there are the stacks of half finished or rejected tunes that reside in the ‘unreleased’ pile. By contrast, there are the happy accidents, created in studio downtime, that much to the surprise of their composer, blow up big time. Pete Heller happily concedes that Big Love falls into the latter category.

It’s 1998. Pete’s long-time studio partner Terry Farley has gone to watch his beloved Chelsea FC play. Pete has a few hours to kill, and a vocal snippet from Stargard’s disco standard Wear It Out stored in his trusty Akai sampler that’s been nagging away at him.

12 hours later, he had the outline of Big Love. At least to his mind it was just the outline. “I saw it as a demo really, it was pretty rough and ready,” Pete tells us. “Initially it was 15 minutes long. I managed to get it down to 10, but the filtering was taking so long, I left it, and thought I’d come back in later and do it properly.”

Filtering allows producers and DJs to play around with frequencies and thus the sound the listener hears. Imagine you’re in a bar area at club with a wall between you and the main room…you can just about make the music out, but it’s muffled. Now think of the tracks that recreate that sound – you’re dancing to filter house / disco.