“… the track had a very heavy nostalgic feeling to it, like you were looking at an old photo album with the faded film of childhood memories, simpler times. We are both massive fans of video and with ‘Photograph’ it’s like we envisioned it to be scene of a film …” – Damon Kirkham reflects on the track’s conception
“… ‘Photograph’ takes the deep, emotive route of previous releases ‘Pacific Heights’ and ‘Sakura’ into the most beatific, blissful and evocative music they have yet conspired to create… in short, a modern masterpiece” – Triple Vision Distribution, Press Release, May 2009
Leaving the mid-90s drum & bass golden era and fast forward to 2009, the 8th installment of the blog’s ‘Tracks I Wish I’d Written’ series is about a distinctive and quintessential track of the ‘Autonomic’ era, written and produced by Instra:mental, the masters of electronic reverie. Introducing a wide palette of sound sources and analogue production techniques, profoundly influenced by a variety of musical styles from years past, Instra:mental re-imagined the drum & bass blueprint, applying a cinematic vision with a cross-genre appeal to their production output.
“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
“ … a contemporary take on 80’s aesthetics, analogue synthesizers, flamboyancy and neon lights; a diverse canvas of nostalgia, audacity, luminescence, aspects and aspirations …”
Back To The Future poster
Beastie Respond is the recording alias of Danish producer Tobias Pedersen. He made his discography debut in 2011 for the bass music label Teal Recordings. After two singles on Teal, he released his sophomore personal album entitled “Fictitious Nostalgia” in 2013. Effortlessly oscillating between genres and styles, from electro and techno to experimental 85/170 electronica and drum and bass, drawing from a wide palette of musical influences (from the cinematic likes of Brian Eno and John Carpenter to the dark melancholy of The Cure to the minimalism and genre-defiance of the Autonomic movement), his talents were readily picked up by forward-thinking labels like Exit, CX Digital and Demand for a string of fine guest appearances; the highlight being the track “One More Second”, which was selected for the second volume of the critically acclaimed “Mosaic” series, released by dBridge’s Exit Records.
A veteran producer and one of the most experienced artists in drum & bass, Darren White aka dBridge is an artist whose multiple transformations and evolutions glide through a staggering list of achievements. Over the course of a long and distinguished career, he has been at the heart of some the most exciting collaborative partnerships drum & bass has ever seen from Future Forces to Bad Company and most recently Club Autonomic. Forging a strong bond with Instra:mental, they showcased their Autonomic sound with an award-winning Fabriclive mix CD, worldwide tour and residencies for Fabric and Rinse FM. In 2011, dBridge returned the focus to his label Exit Records with the Mosaic Vol. 1 compilation and more artist LPs as he continues to be a mentor to the new breed of producers inspired by his career. As a solo artist, dBridge remains versatile with his own productions for Exit, Metalheadz, Reinforced, Hotflush and many more.
Although his love of music dates back much farther, Darren’s career began in earnest in 1992 when he moved to London to make music with and produce for his brother Steve (himself a successful solo artist and front-man for the group “Spacek”). Catching the buzz of the nascent rave scene along with his brother, he ventured out to club nights such as Roast and the Astoria and drew inspiration from the deep dubby tones of the Jah Shaka Soundsystem. Darren soon found himself working with UK hardcore group Armshouse Crew, the production posse responsible for Lennie De Ice’s proto-jungle anthem “We are I.E.” and began to master the synths and samplers that were the source of this new sound. Continue reading
The last few years, drum and bass has achieved an unprecedented popular expansion, appealing to wider audiences and receiving support and radio airplay by many non-drum and bass djs and radio producers as well as hitting top spots in the music charts. Going in circles, from the early hardcore/breakbeat days to contemporary drum and bass, it has been one of the most interesting electronic music genres to follow. Influenced by a plethora of music genres, whether it is hip-hop, techno, soul or jazz, drum and bass covers a wide spectrum to satisfy everyone’s taste and preference. The drum and bass road however, hasn’t been always paved with roses. Every now and then a new injection of fresh sounds and production techniques has been pivotal to refresh people’s interest, as it has happened several times during the 90s. Fast Forward to 2009…
Minimal drum & bass and the Autonomic initiative
For several years in the second half of the past decade, drum and bass had been fairly stagnant, focusing on dance floor smashers. Minimal drum and bass, as the term suggests, is a sub-genre (one of too many nowadays) of drum and bass, stripping down the sound, diverting from the traditional forms without however ceasing to be drum and bass. The tempo remains generally close to the average drum and bass speed (around 170 bpm), however many other aspects of the music contrast highly with contemporary trends in drum and bass. One of the main attributes is a half-time drum rhythm, reducing the perceived speed, while staying to the same bpm. The drum production versatility is retained; quiet percussions, deep sub-bass, eerie synths, subdued melodies and unusual beats are often used, similar to dubstep and future garage productions, hence the confusion that inevitably takes place due to the human need to pigeonhole. Continue reading