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.
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.
Most of the records in this list were pressed in limited quantities and have already sold out. Some back stock though might still be available here and there. I have also attached bandcamp links for previews. The first part of the series includes jungle/drum & bass singles and EPs released this year, ordered by the official release date. Albums and compilations will follow soon.
Various Artists – Morphology EP (Omni Music, OMNIV007)
Favourite Track: Concepts of Art – The Dream
Omni Music is one of the labels which have consistently carried the torch of atmospheric drum & bass. The ‘yin & yang’ logo encompasses the vision and ethos of the label: the symbol of dualism, the vicious pendulum between light and dark, reality and fiction, hope and despair, where seemingly contradicting forces actually interconnect and counterbalance.
Featuring 4 exclusive trademark atmospheric tracks by label regulars Pariah, Eschaton, Abstract Drumz, Mineral, Enjoy and Woken Balance, the ‘Morphology EP’ gracefully represents a sound and movement that never really went away; just moved on the fringes of the scene and re-surfaced with a modern twist. My personal highlight is ‘The Dream’, by the one-off project Concepts of Art (Eschaton, Abstract Drumz and Mineral), which traces the links to the halcyon days of the 90s; absolutely sensational.
Synkro – Emerald EP (Synkro Musik, SMSK005)
Favourite Track: Synkro & Marenn Sukie – Tomorrow
It’s been a rather quite period lately for Synkro, release-wise, as he’s been focusing on running his SK1 record shop in Stockport. After the release of the Synkro Musik retrospective compilation two years ago, McBride returns to the label and his signature 170 motifs with the ‘Emerald EP’.
The screen-printed sleeve edition (including insert & sticker) designed by Synkro has been limited only to 50 copies worldwide, available exclusively from bandcamp. Featuring collaborations with LSN, as well as with one of my favourite producers in recent years Marenn Sukie, the EP retains a distinct UK bass culture feel, showcasing McBride’s eclectic repertoire, rhythmic tropes and emotional subtlety.
A remix of the track ‘Tomorrow’ by Bob Holroyd, the founder of Soundscape Music Production and music writer for TV documentaries, industrial films and corporate audio/visual productions is available as a digital only bonus track.
Dom & Roland – Eminence/Time To Change (Over/Shadow, OSH022)
Favourite Track: Time To Change
It’s been a special year for Over/Shadow, as they have earned their rightful place in the epicenter of the underground bass music culture, stylishly bridging a generation gap. Alongside the household names, the revered seasoned veterans DJ Crystl, Robert Haigh (aka Omni Trio) and Mixrace have also joined the label’s collective. In 2023 Over/Shadow published 5 singles/EPs, 3 artist albums and a special compilation that shares the same kind of aesthetic with the elusive 1994 Moving Shadow ‘Two On One Pizza Hut Edition’. More about the Over/Shadow LPs and the ‘Quadrant’ Compilation though in the last part of the annual series soon.
I firmly believe that if you want to make a statement in music, you write an album and Dominic Angas is definitely one of the genre’s certified album writers. ‘Eminence / Time To Change’ has been available both as a standalone single and a bonus 12” as part of the collector’s edition of his 8th studio album ‘Against a Dark Background’. Going full circle since his groundbreaking debut album ‘Industry’ (originally released by Moving Shadow in 1998, the LP has been re-mastered and re-issued by Dom on his new label Individual), Dom’s deep and almost unbearably melancholic music evokes images that highlight the contrast between a sombre recent past and a neon-lit version of the future; a time for change.
Coco Bryce x Forest Drive West – Neptune (Rupture LDN, PLANETR08)
Favourite Track: Forest Drive West – Neptune
One of the most-popular London drum & bass club nights, Rupture turned into a record label in 2012. Cultivating an inclusive and meticulous approach to the genre, Rupture has garnered praise and unconditional support from fans and peers alike and stands at the forefront of experimental, cutting edge drum & bass. In 2018, Rupture introduced the brilliant ‘Planets’ series; an appreciation of the ‘Rupture Jungle Universe’. Released in pairs, the series concludes with outer part of our solar system, ‘Uranus’ and ‘Neptune’, often called the twin planets due to their mass, diameter, and rotation rate similarities.
Featuring an array of Rupture ménage names (Double O, Tim Reaper & Dwarde, Mani Festo, Coco Bryce and Forest Drive West), the last edition of the series reflects the ice giants’ cerulean undertones and will instantly teleport you to the intimate and intense atmosphere of the Corsica Studios dancefloor.
Damian’s Ghost – After Life EP (Astrophonica, APHA029)
Favourite Track: Into the Night
Introduced to Fracture by a mutual friend, Damian’s Ghost (Christopher King) made his Astrophonica debut in 2021. The follow-up is the ‘Afterlife EP’, a refreshing outlook on atmospheric jungle. Keeping the bpm at a sensible level, the glorious synth pads and the hypnotic drum patterns create a false awakening loop, a distorted reflection in the mirror, blurring the lines between reality and dreaming.
“In this era of rampant clout chasing via social media and a ‘who can shout the loudest competition’ it’s incredibly calming and grounding to have an artist like Damian’s Ghost. His music has everything I look for – it’s unique and has an immediate and strong identity. I can tell a Damian’s track from the first couple of bars” – Fracture
J Majik – In The City EP (Infared, INFRALTD025)
Favourite Track: J Majik feat. Salva – Thanks & Praise
I really don’t know if it’s been intentional (perhaps I should ask J himself), but I feel that J Majik has enveloped a musical career spanning three decades in three tracks. Revolving around the foundations of electronic music, tracing a line from the early outdoor raves (‘Fantazia’) and the emergence of jungle (‘In The City’) to the crossover sensibility of drum and bass in the new millennium (‘Thanks & Praise’), J Majik’s latest EP captures the pressure, anxieties, hopes and fears of city life.
Fusing drum & bass with gospel and 21st century Chicago soul, J Majik emulates his collaboration with renowned singer Kathy Brown 20 years ago, when he produced club anthems (‘Love Is Not A Game’, ‘Share The Blame’, ‘Tell Me’) that entered the UK charts. Give thanks and praise …
Hidden Agenda – Golden Sky/1978 (Horrific Recordings, HORRIFIC013)
Favourite Track: 1978
My affinity for Hidden Agenda has been well documented in this blog. One of my all-time favourite drum & bass outfits, their unique production style, a mélange of jazz, rare grooves and bold nouveau-funk coded into such a minimal and precise technique has captured my imagination since their 1995 debut on Metalheadz. Sadly, as of 2016, Mark is no longer with us, and his brother Jason continues the Hidden Agenda legacy solo. After a time of reflection and creative hiatus, Jason has returned to production in a head-turning fashion. He eventually resurrected (with James Hadfield and Malcolm Sharp) the genre-defiant project Beyonders, which was initially a construct that granted the Goodings brothers the freedom of anonymity to explore alternative musical avenues.
Reminiscent of Hidden Agenda’s Creative Source heyday, ‘Golden Sky / 1978’ is a vinyl only release, limited to 300 copies and housed in a full-colour disco sleeve with cover artwork by UK artist James Jessop. You can find more Jessop artworks here.
James ‘Horrific’ Jessop reflects on the background story of the record:
“In 2015 Mudfoot Blaps introduced us to Jason at Greys Club in Newcastle – buzzing I got his autograph. 2020 during lock-down Jason sent us two tunes which I was feeling and we arranged to hook up this long awaited dream 12″. I went onto paint a huge epic 200x200cm oil / acrylic painting to be photographed for the cover. Set in the South Bronx 1978 (which is the title of the Side AA) – a train Rolls over RAE ST with a semi-wild style piece which reads ‘HIDDEN AGENDA – GOLDEN SKY’ with a mini 1978 piece also sprayed on the bridge”.
Make sure to check also Jason’s new record on AKO10, the AKO Beatz sublabel for special 10” releases, here. According to the press release there might be a sequel soon …
Ant TC1 & Philth – Dark 97/The Eastern (Metalheadz, META101)
Favourite Track: Ant TC1 & Philth feat. Immerse – Dark 97
It’s been a while since I last proclaimed that we have another Metalheadz future classic. Label manager Ant TC1 collaborates with Philth to deliver a record that encompasses the very essence of the label and everything it’s represented in the last 3 decades; a love letter to their early influences and the club nights that shaped the drum & bass sound.
The titles are more or less self-explanatory. ‘Dark 97’ echoes the humid, low-ceiling intimacy of the Blue Note; dark and relentless, like a dubplate straight out of Grooverider’s legendary record box. ‘The Eastern’, perhaps a nod to Ant and Goldie’s Thai links, flips another chapter of the history book; warm, jazzy, charmingly mysterious and emotionally-charged. Pretty much what Peshay did with ‘Predator/On The Nile’ in 1996, oscillating effortlessly between both sides of the spectrum.
Suburban Architecture – Architecture Dub#002 (Blame & DJ Trace remixes)
Favourite Track: Visions ’96 (Blame Remix)
Suburban Architecture is a record label and production outfit created by London-based DJ/Producers Chris Read and James Curry. The project pays homage to the drum & bass pioneers and the UK suburbia in which the genre flourished. Last year, the label introduced the ‘Architecture Dubs’ series of limited edition 10″ vinyl releases, which sees some of the most revered names active during the mid 90s golden era of Drum & Bass deliver remixes of Suburban Architecture material. Pressed on 10″ vinyl and housed in brown Kraft paper sleeves, the series makes visual reference to the exclusive dubplate pressings which introduced so many classic cuts to the UK’s dancefloors in the 90s.
Following on from the first edition of the series, which featured remixes from Peshay and DJ Trax, Dub #002 presents new remixes from another two legends of the scene, Blame and DJ Trace. Both tracks capture a snapshot of the remixers’ respective careers: Blame re-interprets the lead track ‘Vision ’96’ from the eponymous Suburban Architecture debut EP, a nod to his productions for Moving Shadow and DJ Trace revisits ‘Future Jazz ‘95’ taken from the ‘Alternative Futures EP, SUBARC002’, echoing his early works for Lucky Spin and Dee Jay Recordings. The next edition of the Architecture Dubs will include remixes by Nookie and DJ Crystl.
Seba & Paradox – Volt (Ilian Tape, IT058)
Favourite Track: Volt
After a string of releases for some of the genre’s most prestigious labels, one of the most consistent drum & bass production teams launched a dedicated label for their collaborative work in 2019. When Seba & Paradox teased their upcoming release on Ilian Tape, a label with a repertoire too broad to pigeonhole in a single genre, stylishly swaying from techno and electro to ambient and drum & bass, the anticipation went into overdrive. Naturally, the result turned out nothing less than exqusite.
‘Trezub’, the title being a reference to the Ukrainian coat of arms (a blue shield with a golden trident), is a signature Seba & Paradox track, with ominous pads and a devastating bassline. The highlight though is ‘Volt’. Written at a lower tempo, the clinical breaks and the synth lines create electric microshocks; high voltage from the Hard Hitting Bass Villains on 180g heavyweight vinyl.
JLM Productions – Superluminal Perspective (Spatial, SPTL018)
Favourite Track: Theia
Jamie Myerson was one of the first drum & bass producers in the USA. Hailing from Philadelphia, he was 21 when he made his debut onto the UK scene in 1993 with ‘Find Yourself’ a track which appeared on the 6th volume of the acclaimed Reinforced’s ‘Enforcers’ series. Since then, he has released several singles on Reinforced and has contributed tracks to Volume’s ‘Trance Atlantic’ compilation and ‘Freezone 3’, as well as recording domestically for New York’s Smile Communications and releasing this ‘Decisions EP’ on Crammed’s ‘Selector’ imprint.
Myerson resurrects a project for Spatial, which had been dormant for over 25 years, exploring the deepest reaches of space in the realm of cosmic drum & bass. How would our world be viewed by observers moving faster than light in a vacuum? The picture of the world from the perspective of a superluminal object would be very different from what we encounter on a daily basis. We should expect to see not only phenomena that occur spontaneously and without a deterministic cause, but also particles that move along multiple paths simultaneously. Classic atmospheric drum & bass sounds re-imagined for 2023 and beyond.
Concealed Identity – Vimana EP (Repertoire, REPRV032)
Favourite Track: Faultline
Following on from the ‘Nightingale Floor EP’ back in 2021, Concealed Identity returns to Repertoire with another brilliant record. Morton’s titles have allusions to central concepts in eastern cultures and aesthetics. Nightingale floors are floors built in such a way that they produce a chirping sound when walked upon and were used in hallways, temples and palaces. Whether by design or accidental, legend has it that they were used as a security device to prevent/detect unauthorized or malevolent movements within the premises. Vimana are mythological flying palaces or chariots described in Hindu texts and Sanskrit epics.
From the meditative, complex and intricate soundscapes suggested by his artist name (which is a tribute to the Source Direct eponymous track from their ‘Exorcise The Demons LP’) to the fragile and lyrical romance of his first full vocal track featuring rising UK jazz and soul vocalist B-ahwe, Morton’s take on drum & bass is one of the most fascinating in recent years.
Dwarde & Tim Reaper EP (Creative Wax, CW128)
Favourite Track: Groovin’
Sharing a common musical taste and work ethic, Tim Reaper & Dwarde are spearheading a community of a younger generation of like-minded artists. Their first collaboration dates back to 2013 (‘The Raw EP’, Omni Music). In 2016, they started a series of Simpsons-themed releases on Globex Corp, a 7th Storey Projects sub-label and after that everything snowballed. As the genre has reached a new peak of visibility, Tim Reaper and Dwarde have even managed to crossover to audiences less jungle-inclined.
Combining a retro-futuristic approach and a fearless DIY attitude towards experimentation with vintage aesthetics, their latest partnership with one of the genre’s historic labels Creative Wax seems like a perfect fit. Steering away from the maxim that revivalism can eventually end up in parody and despite their (relatively) young age, Tim Reaper & Dwarde have graciously captured a sound that has been indelibly printed in the genre’s fabric.
Orca – Intalect / Discovery (Deep Jungle, DAT077)
Favourite Track: Orca – Promised Land VIP
Last year Deep Jungle released ‘The Lost Tapes’, a compilation of 10 Orca tracks originally written from 1992 to 1995, which were considered buried in the sands of time. As the press release read: “For seasoned ravers, we feel each of these tunes will take you straight back to your memories of those times. For younger listeners, it’s a special glimpse back into the heyday”. The album featured also a fantastic artwork illustration: an orca whale swimming over a submerged Aztec temple, a vivid analogy between lost tapes and lost civilizations.
The latest edition of re-issues from Orca’s back catalog includes 3 seminal tracks; the original version of ‘Intalect’, as well as ‘Discovery’ and ‘Intalect Promised Land VIP’, previously only available on the ‘Promised Land’ compilations. I have an ardent fondness for the ‘Promised Land’ series (especially Vol. 2, mixed by Fabio feat. Cleveland Watkiss), which epitomized a moment in time and space that might never be replicated.
Overlook – Mima’s Room / After Hours (UVB-76 Music, UVB76028)
Favourite Track: Mima’s Room
After last year’s superb ‘Lost Souls Club EP’, UVB-76 Music mainstay Overlook returns with a powerful display of his production prowess; a sci-fi lullaby escalating into the worst nightmare.
‘Mima’s Room’ is a reference to 1997 animated psychological thriller ‘Perfect Blue’, directed by Satoshi Kon, which explores the preoccupation with perception, identity, voyeurism and performance. The protagonist, Mima, discovers a website called Mima’s Room. As she digs deeper, she finds a diary detailing disturbingly accurate aspects about her private life. Counter-intuitively, the flipside ‘After Hours’ is the polar opposite; a prime-time dancefloor smasher, tech-stepping into the future, to paraphrase a classic Emotif Recordings title from the 90s.
ASC – House Of Leaves EP (Samurai Music, SMDE37)
Favourite Track: The Navidson Record
You’ll struggle to find a producer as prolific as James Clements regardless of the electronic music genre. In 2023, ASC released 2 studio albums (on Over/Shadow and Horo), as well as a dozen of singles and extended plays for Spatial, Past Inside The Present, Samurai Music and Waveforms. The latter is a brand-new label from ASC and Presha focusing on early 90’s jungle releases on 10” vinyl.
ASC returns to Samurai Music with the ‘House of Leaves’; the label’s final vinyl release for 2023. The track titles are a reference to the debut novel by American author Mark Z. Danielewski, published in March 2000; a prime example of post-modern, ergodic literature, where story and format are inextricably intertwined.
‘The Navidson Record’ is described as the inadvertent product of an autobiographical documentary project: having recently moved into a new home in Virginia, the Navidsons installed cameras throughout the house to capture candid family moments. The family’s daily life was soon upended by doors appearing in once-blank walls of their house, opening onto new rooms that extend, impossibly, beyond the house’s outside dimensions.
The precursors of ‘The Davidson Record’ are painstaikingly described at the beginning of the documentary. ‘The Five and a Half Minute Hallway’ – a five and a half minute optical illusion, abstract and carrying the bare minimum of detail, was dismissed as barely exceeding the abilities of any NYU film school graduate. The problem, of course, was the accompanying statement that claimed all of it was true.
‘Exploration #4‘ was even more hotly sought after than ‘The Five and a Half Minute Hallway’ and resulted in some fervent quests for Navidson and the house itself, all of which, for one reason or another, failed. Unlike the first, this short was not a continuous shot, prompting many to speculate that the eight minutes making up ‘Exploration #4’ were in fact fragments of a much larger whole.
Also in the series:
Liner Notes on 2023 – Part II (Dimmed Lights, Drawn Blinds)
God Is No Longer A DJ 