“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.
“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.
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.
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
“.. the name (Ancestral Voices) comes from the idea that knowledge and wisdom are passed down aurally, sonically, and experientially into our time for us to learn the laws of Nature …” – excerpt from an Ancestral Voices interview for XLR8R
Ancestral Voices is the side-project of British producer Liam Blackburn. Widely known in the electronic music circles for his solo outputs under his primary recording alias Indigo, as well as his collaborative work with Synkro for the acclaimed hybrid electronic outfit Akkord, Blackburn created Ancestral Voices to be a musical platform exempt from genre restrictions, formulaic constraints, expectations and musical agendas.
With prior releases on prestigious labels like Exit, Auxiliary, Apollo, Samurai Red Seal and Samurai Horo among others, as well as being affiliated with producers and label owners, who share the same musical ethos and vision, Ancestral Voices didn’t have to look elsewhere for a creative home. In fact, his long-term relationship with Geoff Wright (DJ Presha), the label owner of Samurai Music, who used to be Blackburn’s agent and later his mentor, provided him with the artistic freedom to re-invent his sound; hence Ancestral Voices found his natural habitat on Wright’s pristine experimental label Samurai Horo.