“I think things are cyclical and in the advent of digital, people crave the physical”
“And I think record collectors will always be buying vinyl and building a collection of good music, then passing on that knowledge to others who might not collect yet, because it’s great and fun and a way of life!”
This is the second installment of the blog’s new series titled “On The Outside, Looking In”. As the title suggests, it is a retrospective sneak view into my guests’ photo albums, collections, musical diaries, hazy memories and internal monologues. The discussion timeline is non-linear, jumping back and forth in times and places, as it would probably be in a real-time conversation with friends, whose music-related work I admire and respect. The concept of interviewing my guests in pairs has been intriguing and thought-provoking, trying to find out how their paths have periodically intersected and eventually converged through music: from rented studio time in the early 90s to custom-made studios and modern production, from raves in warehouses and sweaty basements to transatlantic tours and remixing punk priestess Siouxsie (well, that’s a story for another day), from tape packs and pirate radio to record fairs, eclectic record collections, running boutique record labels in 2019 and everything in-between.
Justice & Dissect
The head title of the series has been inspired from the first Modern Urban Jazz release by Glider-State (Blame & Justice), so it is with great joy that I present the man himself Tony ‘Justice’ Bowes alongside one of the most interesting figures of the new generation of producers Michael ‘Dissect’ Walsh.
“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.
Most of the blog’s features are thematically based on informal conversations with my guests. Although I often include verbatim excerpts, it’s been a long time since I posted an actual interview. This is the first installment of a new category introduced to replace one of the blog’s oldest series “Jump The Q”, which has unceremoniously completed its cycle. The “Jump The Q” questionnaire template was designed to be short and simple rather than thought-provoking; the general idea being to discover a few personal details about artists and djs (from their favourite drink to the worst live performance they’ve witnessed), whose music-related work I admire and respect.
The new category titled “On The Outside, Looking In” will encompass a broad and conceptual music-centered scope. The timeline is intentionally non-linear, jumping back and forth in times and places and the head-title is borrowed from the first Modern Urban Jazz release by Glider-State (Blame & Justice); a casual chat between friends and a retrospective sneak view into old photo albums, collections, musical diaries, hazy memories and internal monologues.
Sicknote x Soul Beat Runner
The new series kicks off with two guests, who share common musical taste, vision and aesthetics, dating back to the early days of drum & bass. Really intrigued to find out more about their views, perspective and insight, I am very happy to present Lewis ‘Sicknote’ and Michael ‘Soul Beat Runner’ (SBR) discussing all things music.
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).
“… At Basement Records we also wanted the artists to sample as little as possible, to create pioneering and original material, hence the label title ‘Precious Material’. Some of the releases are produced in the studio and some are recorded live performances…”- Phil Wells reflects on the label’s ethos and purpose
After a long hiatus, the blog’s “Whatever happened to …?” series return with the 9th installment. This time into the limelight is Precious Material; one of the most exhilarating and pioneering drum & bass labels of the mid-90s. Though short-lived, Precious Material has been one of the finest outlets of experimental drum and bass, integrating elements from various musical genres into the drum & bass template, defying stereotypes, constraints and agendas.
Established by Phil Wells in 1994 as a Basement Records’ subsidiary, during a time when drum & bass was still in its infancy, the main driver had been to foster a creative environment for established, as well as up-and-coming artists, free from dance-floor reactions and limitations. Following the huge success of the parent label Basement Records during the early rave years and the jungle/drum & bass evolution, Phil’s aspiration and incentive had always been to spearhead a new musical direction and introduce drum & bass to wider audiences.