Undoubtedly one of the leading lights in the Drum & Bass scene, Nookie (aka Cloud 9, Freddy Fudpukker, Main Attraction, Private Productions, Second Vision, Traces Of Guilt and Windy Milla) is London Herts dj, producer, artist and remixer Gavin Cheung.
Nookie is a true veteran of the drum & bass scene, whilst at the same time one of its most forward thinking protagonists. With dozens of releases on key labels such as Reinforced, Moving Shadow, Labello Blanco, Penny Black, Good Looking and his own Strictly Digital and Phuzion, almost a hundred remixes and five albums under his belt, Nookie has been one of the most prolific drum and bass producers keeping a perfect balance between quality and quantity.
An early fan of hip-hop and electro, Gavin Cheung was a member of a break-dance crew that also recorded several sessions during the mid-’80s. After studying for several years, he began working in a record store around the time of the acid-house explosion of the late ’80s. Debuting on wax with a ragga/hip-hop remix of Ninjaman’s “Zig It Up” in 1990, Cheung was a proper player in Britain’s growing hardcore techno scene of the early ’90s. Continue reading
Internal Affairs web radio show is a side project of Godisnolongeradj. Hosted by Professor S (aka Godisnolongeradj) alongside partner DJ Sin, Internal Affairs is an effort to present a chronicle of the drum and bass history throughout the last two decades, emphasizing on the jazzy, atmospheric and mellower side of the jungle/drum and bass spectrum.
The show is already on its 3rd Season and is broadcasted every Monday live, from 20:00 to 22:00, Time zone: (UTC+03:00) on Radio Zografou GR
The fourth episode of the first season of the show is dedicated to Future Engineers; a showcase of a wide spectrum of their discography from 1997 when their first release saw the light of day (The Silence b/w Shattered on Renegade Recordings, RR017) till the time of writing. A new release by Future Engineers on their own imprint Transference Recordings is highly anticipated soon!
Lee Batchelor and Keir Cleminson are Future Engineers, a Glasgow based drum and bass production outfit, best known for their music that was released by LTJ Bukem’s Good Looking Organisation between 1999 and 2003, and also for the progressive, dance floor friendly DJ sets that they have performed across Europe.
They released their seminal 12” (“The Silence”/”Shattered”) on Renegade Recordings in 1997, quickly followed by popular material on labels such as Temple Records and Partisan Recordings. Almost 10 years since they first broke onto the scene, they have retained their reputation as a boundary-pushing and prolific drum and bass act. Their solid working relationship has been built on the foundations of a life-long friendship, having grown up together in North London and then Glasgow when Keir relocated there in 1990, followed by Lee in 1994.
From early childhood they were constantly surrounded by music – from studio sessions to live concerts – due to their fathers who were working together in the industry. Most notably, Keir’s father was lead guitarist in The Sensational Alex Harvey Band and Lee’s father co-produced some of their albums (he also co-produced “Slide Away” for Oasis on their debut album “Definitely Maybe” years later!) As a result of this exposure and the uptake of musical and studio know-how, it was a natural choice by Lee and Keir to pursue a similar career to their fathers’. Continue reading
The last few years, drum and bass has achieved an unprecedented popular expansion, appealing to wider audiences and receiving support and radio airplay by many non-drum and bass djs and radio producers as well as hitting top spots in the music charts. Going in circles, from the early hardcore/breakbeat days to contemporary drum and bass, it has been one of the most interesting electronic music genres to follow. Influenced by a plethora of music genres, whether it is hip-hop, techno, soul or jazz, drum and bass covers a wide spectrum to satisfy everyone’s taste and preference. The drum and bass road however, hasn’t been always paved with roses. Every now and then a new injection of fresh sounds and production techniques has been pivotal to refresh people’s interest, as it has happened several times during the 90s. Fast Forward to 2009…
Minimal drum & bass and the Autonomic initiative
For several years in the second half of the past decade, drum and bass had been fairly stagnant, focusing on dance floor smashers. Minimal drum and bass, as the term suggests, is a sub-genre (one of too many nowadays) of drum and bass, stripping down the sound, diverting from the traditional forms without however ceasing to be drum and bass. The tempo remains generally close to the average drum and bass speed (around 170 bpm), however many other aspects of the music contrast highly with contemporary trends in drum and bass. One of the main attributes is a half-time drum rhythm, reducing the perceived speed, while staying to the same bpm. The drum production versatility is retained; quiet percussions, deep sub-bass, eerie synths, subdued melodies and unusual beats are often used, similar to dubstep and future garage productions, hence the confusion that inevitably takes place due to the human need to pigeonhole. Continue reading