“Love and other tragedies are recurring themes in the series. Whoever thought that d&b is cold, emotionless and monotonous music, clearly haven’t been paying attention…”
I realize that the series read like another generic countdown list, however there are deeper connotations to me. It’s a retrospective musical diary; a timeline that reflects and documents what I’ve been listening to in various periods of my life. Over time, my militant musical views have – thankfully – attenuated and I’ve come to embrace and appreciate a broader musical spectrum. Hence, all the producers who feature on the series are artists that have resonated with me and have steered away from rigid, formulaic corners.
The third part of the mini-series covers the period 2000-09. At the dawn of the new millennium the majors had turned their backs to drum & bass and adopted a more chart-friendly policy. The halcyon days seemed abruptly over, artists turned almost overnight from media darlings to pariahs and the music press headlines proclaimed the death of the genre. But drum & bass was too cool for that. After a short period of introspection and re-invention, d&b returned stronger than ever. A new wave of artists and record labels pushed the musical boundaries beyond genre confines and soon d&b regained its well-deserved place in the electronic music map; from a limited connoisseur circle to a global audience, from sweaty basements and midweek slots to headlining club main stages and festivals.
What the sleeve notes never tell you
It’s been 16 months since the original post , which was meant to be a one-off feature; however I always felt that it’s been somehow incomplete. The constructive feedback I received, occasionally bordering on debate over a matter de facto subjective, convinced me to revisit the topic; paraphrasing Nick Hornby “a sneer at the bad choices, an understated but supportive raise of the eyebrow for the good ones”. So, instead of updating the list, I decided to compile a new one containing record artwork I had intentionally omitted for a variety of reasons, as well as couple of recent entries.
The second part of the blog’s mini-series covers the period 1997-99. What may have started timidly for artistic purposes or exclusive dj promotional use, by 1997 it became almost de rigueur for record labels to commission drum & bass versions for selected singles and various remix compilations. The niche underground genre infiltrated the mainstream and many d&b producers signed with major labels to curate collections or record personal albums. On reflection, it turned out to be a double-edged sword.
On one hand, d&b found its well-deserved place on the electronic music map. Artists were finally rewarded and vindicated for their efforts and their work was introduced from a limited connoisseur circle to a wider audience, providing them with a vital and creative space for experimentation. Commercial success and critic appreciation motivated accomplished, as well as up-and-coming producers to master their craft, pushing the musical boundaries beyond genre confines. On the other hand, the roller coaster of media exposure, politics, cloudy distribution and licensing agreements, self-indulgence and the drama that inevitably occurs when money and temporary fame enter the equation, terminated careers and friendships untimely and ingloriously. Effectively, drum & bass re-entered a phase of introversion, darkness and belligerence marking the end of the romance. An injection of fresh air was desperately needed and a new breed of producers and record labels emerged to fill in the gap created by those who helped the scene flourish, but sadly realized that they no longer fitted in the d&b reality of the new millennium.
This is the first part of a mini-series focusing on cross-genre drum & bass remixes; from subtle re-interpretations to complete re-constructions. The burgeoning d&b popularity in the mid-90s attracted media attention and interest from independent, as well as major record labels, which commissioned d&b remixes for their artists across the music spectrum; from post-punk and progressive rock, to indie-pop and acid jazz. The syncopated, sample-based drum & bass template accommodated for experimentation and fostered an adventurous environment to introduce innovative production techniques and sonic landscapes.
In hindsight, efficient promotional, publishing, licensing and distribution models exposed UK drum & bass to the large emerging markets of Japan and USA and the genre has been effectively embraced by a wider audience. Many artists seized the opportunity to explore new musical paths. However, what started with bona fide artistic and creative intentions came with a price. In certain cases, it was no more than a sly scheme to cash in on the niche genre emerging from the underground. As a counter-measure, a few years later, the d&b scene retreated back to introversion, inaccessibility and darkness with many struggling to find their place in the new bleak reality (more on part 2).
“… drawing a fine line between the sublime and the ordinary, the initial presentation criteria have been the aesthetic quality of the imagery, the nature of its production, the relationship to the music on the record and obviously my personal attachment …”
Drum & Bass Record Sleeves
Something completely different for the last post of 2016; instead of the music per se, the next installment of the blog’s ‘Count To Ten’ series is dedicated to artwork design, an essential aspect of the physical product. The size and tactile experience of the record sleeve is one of the reasons why vinyl records remain the most enjoyable way to listen to music. The recent vinyl resurgence has rekindled the art of the record layout. Whether it’s hand-made or mass-produced, meticulously arranged or spontaneously created, the cover artwork adds a literal dimension to the music that a digital thumbnail simply cannot replicate.
“Intrigue came about from a desire to put on liquid funk nights in Bristol and showcase our sound. After a few years it developed into a record label, which was something I’d wanted to do since getting into production back in 2000.” – Ben Payne
The fifteenth installment of the blog’s “Count To Ten” series is dedicated to one of Bristol’s finest drum & bass outlets Intrigue Music. The brainchild of Ben Payne, Intrigue has been an integral part of the Bristol drum & bass landscape. Named after the successful eponymous club night in Bristol, which in turn was inspired by Fabio’s famous “Swerve” nights in London (hence Intrigue Music has been arguably considered as the natural successor of Creative Source), the label’s inaugural release saw the light of day in 2009, however its conception dates back to 2003. Continue reading
“… from a musical point of view, I always intended to release stuff that would hopefully stand the test of time, hence the label name. Having said that, I never would have thought that people would still be listening to some of it 20+ years later! It’s proper mad, but really cool, it’s made it all worthwhile!” – Graham Mew (aka The Invisible Man) on Timeless Recordings