The second part of the blog’s mini-series covers the period 1997-99. What may have started timidly for artistic purposes or exclusive dj promotional use, by 1997 it became almost de rigueur for record labels to commission drum & bass versions for selected singles and various remix compilations. The niche underground genre infiltrated the mainstream and many d&b producers signed with major labels to curate collections or record personal albums. On reflection, it turned out to be a double-edged sword.
On one hand, d&b found its well-deserved place on the electronic music map. Artists were finally rewarded and vindicated for their efforts and their work was introduced from a limited connoisseur circle to a wider audience, providing them with a vital and creative space for experimentation. Commercial success and critic appreciation motivated accomplished, as well as up-and-coming producers to master their craft, pushing the musical boundaries beyond genre confines. On the other hand, the roller coaster of media exposure, politics, cloudy distribution and licensing agreements, self-indulgence and the drama that inevitably occurs when money and temporary fame enter the equation, terminated careers and friendships untimely and ingloriously. Effectively, drum & bass re-entered a phase of introversion, darkness and belligerence marking the end of the romance. An injection of fresh air was desperately needed and a new breed of producers and record labels emerged to fill in the gap created by those who helped the scene flourish, but sadly realized that they no longer fitted in the d&b reality of the new millennium.
“… drawing a fine line between the sublime and the ordinary, the initial presentation criteria have been the aesthetic quality of the imagery, the nature of its production, the relationship to the music on the record and obviously my personal attachment …”
Drum & Bass Record Sleeves
Something completely different for the last post of 2016; instead of the music per se, the next installment of the blog’s ‘Count To Ten’ series is dedicated to artwork design, an essential aspect of the physical product. The size and tactile experience of the record sleeve is one of the reasons why vinyl records remain the most enjoyable way to listen to music. The recent vinyl resurgence has rekindled the art of the record layout. Whether it’s hand-made or mass-produced, meticulously arranged or spontaneously created, the cover artwork adds a literal dimension to the music that a digital thumbnail simply cannot replicate.
“I work for the company. But don’t let that fool you; I’m really an okay guy.”
“A track that has stood the test of time and will still be a classic even if you wake up after a 57-years hypersleep”
‘Hypersleep’ record label
Celebrating the 20th anniversary since the seminal ‘Hypersleep’ first saw the light of day, a track written and produced by Voyager (the primary recording alias of Pete Parsons), the sixth installment of the blog’s “Tracks I Wish I’d Written” series is about the background story behind ‘Hypersleep’. Eloquently narrated in-depth by Parsons himself, an iconic figure of the drum and bass scene and one of the most respected and recognized producers and sound engineers, the story is a nostalgic and colourful account of the series of events that inspired and motivated him to write a timeless classic; a trip down memory lane capturing vividly the atmosphere of the mid-90s drum & bass scene.
Looking Good Records
Looking Good Records (referred to as LGR onwards) was launched in 1995 as a sub-label of Good Looking Records. LGR has released to the time of writing 52 singles, 5 retrospective compilations under the title “Looking Back” containing tracks previously released as singles, as well as an unmixed 9-track compilation entitled “Visions” – available only in cd format – with contributions from various artists of the Good Looking Organisation roster. Focusing mainly on the atmospheric, mellower side of the drum and bass spectrum, the label has presented countless classics by some of the greatest artists in the scene including the likes of LTJ Bukem himself, Photek under his Aquarius moniker, Seba, PFM, Blu Mar Ten, ASC, Jason Greenhalgh of Total Science under the Hieroglyphix and Q Project aliases, a collaboration of Blame and Nookie under the New Balance moniker, The Invisible Man, Makoto, Artemis and Future Engineers to name a few. Many of the LGR releases have been also included in the various installments of the Progression Session series. Continue reading
Good Looking records celebrated the 17th anniversary of the Logical Progression initiative on May 18, 2012 in Amsterdam. It was an impeccable production with special guests for the night the mighty Fabio, EZ Rollers and DJ Marky alongside the one and only LTJ Bukem, hosted by MCs Conrad, Stamina and Moose. It has been a long trip down memory lane; a parade of countless classics from the back catalogues of all the labels that were prominent in the game throughout the second half of the 90’s (Good Looking, Metalheadz, Moving Shadow, Timeless, Skanna, Dee Jay Recordings, Creative Source, Creative Wax just to name a few…)
It is very hard to describe the feelings and the memories unleashed during that night making it almost a religious experience for the lucky attendants. I apologize in advance for the poor quality of my videos attached, but let them give a brief, but in no way conclusive, review of what happened that night.
Logical Progression 17th anniversary poster