“There is a thread that runs through all this music that ties it together. Listening to ambient came much later, but again you hear similarities. I mean, in the early days you could just remove the beats and call it ambient! No beat? Ambient!”
The first blog post of 2020 is the third part of an impromptu mini-series exploring the subtle links between ambient and drum & bass cultures, before returning to more familiar d&b territory. Apparently there are more common threads, ramifications and intersecting trajectories in our musical micro-universe than I had initially imagined and it’s been really fascinating to find out that the curators of the brilliant labels presented in the series (Ryan from A Strangely Isolated Place, Dennis from 3Six and Huw from Serein) share a similar musical background. Their labels’ output – beatless in most cases – might sound worlds apart, however I’d still argue that there are reflections of drum & bass somewhere hidden or implied in their influences; eventually all music is connected.
“Forget the times ahead”
As another exceptional year for important things, like new wonderful music, draws to an end, I would like to take the opportunity once again to thank all artists and record labels for gracing this year with their beautiful music and safeguarding the art, the passion and the romance. Despite our culture of distraction and minimal attention span that seems hell-bent on burying new releases beneath an endless scroll and the convenience and luxury of streaming technology, the beauty of music transcends through time or media formats and listeners that are really into music are still paying attention.
“… I can’t understand those musicians who make the most beautiful music, but show little care or attention for the visual side. It’s like stuffing a Rembrandt painting inside a £5 plastic frame from IKEA …”
36 – Fade To Grey
The ‘Tracks I Wish I’d Written’ series is perhaps the most personal, preferential and esoteric category of the blog. The title is self-explanatory and the concept straightforward. I hand-pick records from my collection – records I am fondly attached with and I wish my name was credited on the sleeve – and present them emphasizing on the background stories, the imagery and the messages the music conveys.
When I started the series, I had in mind a set of restrictions, a self-imposed dogma in order to confine the scope. The blog is mainly d&b-oriented, as is my record collection, so intuitively all previous instalments featured drum & tracks, or to be more precise tracks loosely or directly related to the drum & bass template and aesthetic. The concept has been captured eloquently by Ulrich Schnauss in the opening line of the 10th edition of the series:
‘77’ seems a piece that has a rather elegant flow, something I always appreciated about d&b very much. Although this might not be a d&b release from a ‘genre-stalinist’ perspective, I’d still argue that it at least attempts to relate to that kind of aesthetic…
“As musical cultures, I think ambient and drum & bass certainly find parallels in each other – they both loosely connect around personal freedom – be it euphoric or mindful, as genres they are similar in the emotions they elicit …” – Ryan Griffin
In last year’s anniversary feature I had given a hint about expanding the blog’s scope to sporadic non-d&b material, essentially to music I love and enjoy, when I am not listening to drum & bass. The maxim is always the same: “I write about music I like, written by people I like”. My affinity for album covers, liner notes, film scores, ambient and modern electronica has been manifested in previous posts to the point of nausea. What I have not talked about yet though, is that I have often day-dreamt about my own vanity project, or becoming a glorified post-boy as a friend has playfully stated in a past interview here. The mechanics of creating a record label are easier than ever, however I guess that the ship has sailed for now. Counter-intuitively, one of the labels that has inspired me with their passion, meticulousness and visual aesthetics has not been covered on the blog yet and is far from what you have probably guessed. And that brings us to this month’s post. I have the privilege and pleasure to host Ryan Griffin, owner and curator of A Strangely Isolated Place, who shares his insight and narrates the background story of one of the most fascinating labels you are about to stumble upon.
“Sacrificing time, energy and money to keep an independent record label afloat in a niche and saturated market is a reality we often ignore or overlook, especially when it comes to investing on the vinyl format. So, I take the opportunity to thank all artists and record labels for gracing this year with their beautiful music and safeguarding the art, the passion and the romance”.
The last blog post of the year is traditionally a retrospective countdown. Though our culture of distraction and minimal attention span seems unrelenting on burying new releases beneath an endless scroll, 2018 has been exceptional for important things like new, fascinating music. From the establishment of new boutique record labels and classic album re-issues, to much-anticipated debuts, spectacular or dramatic comebacks, this year abounded with great music. My penchant for LPs was more than clear in the previous post, however I feel the urge to express it once again: Album writing has always been and still remains an art form. When you want to make a statement in music, you write an album and at the moment those statements are more exciting, varied and relevant than ever before.
Happy New Year everybody! For the first post of 2018, I have compiled a continuous playlist with some of my favourite electronic tracks from the last few years; essentially music I’ve been listening to, when I am not listening to drum & bass. Although this is clearly a drum & bass-oriented blog, regular readers must have spotted my affinity for ambient, film scores and modern electronica. I have contemplated the expansion of the blog’s scope quite often, however I eventually decided to publish non-drum & bass content only sporadically for the time being, as it seems impossible to stay up-to-date with more than one electronic music genre in a consistent fashion these days.
“The soundtrack of daydreaming, adding widescreen vistas and deep, saturated hues to the monochrome silence”
The playlist selection has been quite diverse. Blurring the lines between composition and improvisation, from spacey ambience and dystopian interludes, to avant-garde electronica and contemporary classical music, the common denominator encompasses musicality, sound aesthetics and subtle emotional gravity. Continue reading
“Electronic music is art, not just entertainment” – Simon Viehoff, Nord Label founder
Nord Label is a small independent electronic music record label, based in Berlin, Germany. The brainchild of Simon Viehoff (aka Lebowski), resident dj and co-founder of the Impulse bass culture project, Nord has been established as a genre-defiant creative platform to cater for experimental music across the spectrum; from ambient electronica and drone to techno and drum & bass, oscillating effortlessly between the abstract and the complex. The idea had been conceived and scrutinized for a couple of years before it eventually materialized in 2014, when Simon was presented with two tracks by old friend and Berlin-based producer Ill_K.