“All our music is there to capture the imagination and we were writing tunes so they could be listened to as whole pieces or stories, rather than dj tools. The idea of people interpreting the songs in different ways and creating their own narratives is really interesting to us”.
‘A good sample is worth a thousand synths or plug-ins’
Blocks & Escher – Broken/Sagan (NARRATIVES001)
The next installment of the series is about one of my favourite tracks of recent years, which has all the qualifying attributes of an instant classic. In a previous post I had manifested the importance of a memorable, intriguing, even cryptic artist name or an appealing title/logo for a record label. Our culture of distraction and minimal attention span seems unrelenting on burying new music beneath an endless scroll. An attractive name won’t compensate for dreadful music, but it’s definitely a head-start and if there’s a chance to go down in musical history, then it’d better take place in style. I can see eyebrows raising already; however following the aforementioned maxim I have made brilliant discoveries over the years.
I stumbled upon Narratives Music, while browsing Surus, the now defunct online store managed by ST Holdings. It’s been one of those cases that I was sold, before even listening to a single clip. The austere brand logo, featuring the ‘NARRATIVES’ title enclosed in brackets, with white font superimposed on a plain black background (the logo has later appeared in various artistic coloured variations), as well as the label name itself were an overture to cast my own interpretations and visualize my own subjective account of the images, the stories and the sentiments the music conveyed.
“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
From Kiel & Berlin to London & San Diego, cool has been re-imagined
“… ‘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 …” – Ulrich Schnauss
James Clements and Ulrich Schnauss in their studios
Leaping in time from the nostalgically distant 1994 and Foul Play to 2012 for the 10th installment of the ‘Tracks I Wish I’d Written’ series. It’s been a rare occasion that two of my all-time favourite electronic music artists have combined their studio wizardry for an exquisite collaboration, which succinctly encapsulates their cinematic aesthetics. Having a visionary and eclectic scope, sophisticated production and composition qualities, as well as enviable back catalogues transcending genres and styles, James Clements and Ulrich Schnauss are purveyors of the finest electronic music.
GodIsNoLongeraDj cameo appearance for Vykhod Sily Podcast
Vykhod Sily (loosely translated into ‘The way the force is coming through’) is a podcast series launched and curated by DJ Rustee (from the Special Request Crew, based in Yekaterinburg, Russia) in 2013. Profoundly influenced by the Autonomic movement and modern electronica, the musical canvas covers a wide range of the d&b spectrum; from minimal half-tempo and all things 170BPM to 90’s influenced jungle.
“Modern, cinematic takes on ambient electronica and vintage aesthetics, sprinkled with bitter-sweet nostalgia”
Short Trips logo
In the dawn of the 90s emerged a new musical hybrid, fusing various elements and structural forms of electronic music, relying upon composition, experimentation and innovation rather than adhering to formulaic standards associated with specific genres and styles. Free from dance-floor reactions and limitations, championed by electronic music luminaries, the new style was regarded just as suitable for dancing as for home listening. A plethora of generic, as well as imaginative terms were conceived to outline the genre. 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.