South Coast Vibez – Codename: RCRDS

“The vision we have always had for the artists is: ‘when the tide comes in, all ships rise together’, and we very much believe that.  We look at the meteoric rise of other labels over the past few years, and are looking at ways we can emulate that, but with our own musical vision, which we feel is pretty unique in style”.

Despite our culture of distraction and minimal attention span that seems hell-bent on burying new releases beneath an endless scroll, the drum & bass scene these days seems as exciting and healthy as ever. It’s been definitely easier, almost de rigueur, to establish a new record label nowadays, as opposed to the 90s, however to carve a niche in a small yet saturated market without vision, purpose and commitment is a first class ticket to disappointment.

The next installment of the blog’s ‘This Side/That Side’ label profile series, is about a new, boutique independent record label and DJ collective based in Southampton UK, which has been a creative hub the last few years. The brainchild of dj/producer Jon Moakes (Moakz) and David Hammel (Chiron), Codename: RCRDS was founded through love and dedication to electronic music. The new label has already showcased some of the rawest well-known and underground talent in the drum & bass/jungle scene, unhindered by association with a particular sound or DJ. Their first string of releases has emphatically validated that statement.

I have the privilege and pleasure to host for an interview Moakz and Chiron, DJs, owners and curators of Codename: RCRDS. Jon and Dave narrate the background story of the label and share their articulate views, which extend well beyond the musical sphere.

Liner Notes on 2023 – Part II (Dimmed Lights, Drawn Blinds)

This is the second part of the extended ‘Liner Notes on 2023’ feature exploring a wide array of styles, themes and motifs; from contemporary classical, ambient and music for films, to shoegaze electronica, techno, deep house and even progressive rock vignettes. So, if you are wondering how ostensibly polarized concepts such as the French romantics, an old weather proverb, Balearic sunsets, 90s UK hardcore, 70s Belfast riots, the unreliability of memory and the iris of the eye could all fit within the endless possibilities of electronic music, dust off your Glencairn glasses, dim the lights, draw the blinds, put your headphones on and scroll down.

Most of the records in this list were pressed in limited quantities and the physical versions have already sold out. Some back stock though might still be available here and there.  Supplemented with liner notes, my own interpretations and purchase/preview links, these are another 12 of my favourite 2023 records, ordered by date of official release.

Liner Notes on 2023 – Part I (Something Borrowed, Something New)

It’s that time of the year again for my traditional end-of-year blog lists nobody has asked for. Another year has been graced with a plethora of fantastic records; precious moments where the underground and the niche popped their camo-clad head through the mire of derivative and forgettable music.

This annual roundup will be divided again into multiple parts to accommodate for as many records as possible. Once again, I would like to stress as a kind reminder that these lists are not some kind of 2023 best of – quite the contrary – they pertain only to records I have bought this year and therefore I find them worthy of your attention and (why not) your credit card. Inevitably some great music has been omitted or missed, some of the usual names appear again on these lists, but we’ve been down that road before. Needless to explain (again), but I’ll do it anyway: digital-only releases are beyond the scope of these features, not due to some warped sense of purism, elitism and showboating. It’s down to the simple fact that this blog is a one-man show, hence literally very little time to browse through and listen back to every digital release as well. So, despite the obvious shades of favouritism, I’d still argue that this has been an honest appraisal.

Tracks I Wish I’d Written (issue #25): Boymerang – Urban Space

“I love the way you just give people a little hint or flavour of something and it takes your mind on a to a different environment. I want to utilize the different flavours I’m into; a bit of Nick Drake or Talk Talk. All the stuff that I’ve used, but fucked up to such an extent that only I know it’s in there” – Graham Sutton.

It’s been a while since the last edition of the ‘Tracks I Wish I’d Written’, but the series is finally back with a timeless record from the halcyon days of the 90s, that transcends effortlessly the cybernetic fantasies of techstep and the dreamy moods of artcore. Leader of the post-rock indie band Bark Psychosis, turned Grooverider’s acolyte and purveyor of an apocalyptic breakbeat noir, Graham Sutton’s rise in the drum & bass scene has been nothing short of meteoric. In fact, I can hardly recall a producer who’s had such a brief spell at drum & bass and left such an indelible musical print other than Boymerang.

Sutton’s penchant for sound experiments started at a very young age. His father used to teach music and Graham had always been fascinated with electronics, playing around with tape decks, recording his own ‘sound dramas’ and re-editing songs with the pause button. Profoundly influenced by an ostensibly polarizing array of artists and musical styles Sutton, formed the experimental rock group Bark Psychosis in 1986 with his school contemporary John Ling, with the noble intention to create something personal, truthful and esoteric instead of replicating the antics of the big bands. A curious blend of melody and murderous noise, combining the free-form jazz sensibility, the instrumentation of alternative rock and the aesthetics of dance and electronic music, laid the foundation of what some people would go on to proclaim, rather reductively, ‘post-rock’.

Liner Notes on 2022 – Part V (Allusions)

This is the 5^th and closing part of the blog’s extended ‘Liner Notes on 2022’ series and I have already made a promise to myself to keep it shorter next time. All entries in these annual features do have something in common. Whether they were written a few months, a decade or 30 years ago, they all capture a special time and place retaining the relevance of that revered sound; a nostalgic reminder of simpler times.

For this last part of the series, I have selected another 12 drum & bass singles/EPs that might (or might not) have gone under the radar, which I think are definitely worthy of your attention; precious moments where the underground and the niche pop their camo-clad head through the mire of derivative and forgettable music. Most of the records in this list were pressed in limited quantities and have already sold out, however some back stock though might still be floating here and there. I have also attached links for previews and purchase (where available).

All Bladerunner references are purely coincidental.

The crucial flaw with Audio CDs

I finally decided to eliminate the many boxes I had been moving across various places full of CDs. But not before I actually archive them for my …

The crucial flaw with Audio CDs

Liner Notes on 2022 – Part IV (Alliterations)

This is fourth part of the extended ‘Liner Notes on 2022’ blog series. As hinted in Part II, this edition is dedicated to three record labels that project a common ethos and vision, share the same passion, meticulousness and visual aesthetics and feature regularly in the blog’s annual roundups. From timid beginnings they have all evolved to warm and devoted communities of like-minded music lovers. Despite the different musical direction and backgrounds of the featured artists, who are based across the globe, there is a common denominator: emotionally draining and riveting music, a celebration of human intellect and touch.

Liner Notes on 2022 – Part III (Extrapolations)

Returning to more familiar drum & bass territory and with an older demographic in mind, the third part of the extended ‘Liner Notes on 2022’ series features a selection of previously unreleased material, re-issues of classics, as well as brand-new music that directly relates to that kind of 90s aesthetic, bridging the gap between generations. A gap that emerged when physical music products were gradually moved to or even replaced by streaming services and the sacred act of perusing older relatives’ collections, reading liner notes or flipping through magazines suddenly became relics of the past. However, what until this point has seemed to be inter-generational irritations and antagonisms, has now evolved into warm appreciation of individuality and idiosyncrasy, on both sides – and brilliant music, too.

Liner Notes on 2022 – Part II (Impressions of Absence)

This is the second part of the extended ‘Liner Notes on 2022’ feature exploring a wide array of styles, concepts, themes and motifs; from contemporary classical, ambient and music for films, to shoegaze electronica, techno, deep house and even progressive rock vignettes. The piano takes centre stage and bar a few exceptions, this is mainly music for home-listening. So, if you are wondering how Greek mythology, soundtracks and scores from classic LA movies, the ghosts of old America, vintage super 8 films, psychedelic trips into the subliminal and video games could all fit within the endless possibilities of electronic music, dust off your Glencairn glasses, dim the lights, draw the blinds, put your headphones on and scroll down.

Liner Notes on 2022 – Part I (Borrowed Nostalgia)

It’s that time of the year again for my traditional end-of-year blog lists nobody has asked for. As we have returned to some kind of normality, another year has been graced with a plethora of fantastic records; precious moments where the underground and the niche popped their camo clad head through the mire of derivative and forgettable music.

This annual roundup will be divided into multiple parts (probably 5) to accommodate for as many records as possible. Once again, I would like to stress as a kind reminder that these lists are not some kind of 2022 best of – quite the contrary – they pertain only to records I have bought this year and therefore I find them worthy of your attention and (why not) your credit card. Inevitably some great music has been omitted or missed, some of the usual names appear again on these lists, but we’ve been down that road before. Needless to explain (again), but I’ll do it anyway: digital-only releases are beyond the scope of these features, not due to some warped sense of purism, elitism and showboating. It’s down to the simple fact that this blog is a one-man show, hence literally very little time to browse through and listen back to every digital release as well. So, despite the obvious shades of favouritism, I’d still argue that this has been an honest appraisal.