“Ever get that feeling, when you experience some sort of musical epiphany and strive to memorize the melody and the lyrics of a song you have just listened to, before they‘re lost into the next morning’s haze?”
This month is my blog’s 8th year anniversary and to be honest I’ve never expected to make it this far. It has been a unique opportunity to connect with some of my musical icons, as well as with many like-minded people across the world and celebrate the music we all love. Traditionally, the anniversary features are retrospective accounts and this one will be no exception; another one of my tedious lists, supplemented with a few comments, liner notes and fan facts.
“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.
‘Whatever It Takes’ is a phrase I’ve been saying to myself over the last few years, when I despair with manipulative behaviour, in the face of what seems to be happening in the current climate of media/consumer culture; the lengths that people will go to, the things that they will do to get attention or change people’s opinions. Often people will do whatever it takes to get noticed.
Klute – Whatever It Takes (SUICIDELP20)
I firmly believe that if you want to make a statement in music, you write an album and at the moment those statements are as relevant and interesting as ever. There are still artists that invest time and effort working on well-considered, profound narratives and multi-layered album concepts. Some get it right effortlessly, some lose the plot mid-way and others end up with a collection of selected works. It doesn’t matter anyway; the merit of album writing as an art form is to evoke different emotions and interpretations, unveiling beauty and truth in due course. Despite 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.
Last year, Klute featured on the blog’s ‘Tracks I Wish I’d Written’ series and revealed that his 9th album was already in the making. Fast forward eleven months later and his new LP titled ‘Whatever It Takes’ is finally released tomorrow (October, 25th). A certified album artist with a rare consistency that spans more than two decades, Klute has opted for full-lengths as a platform of artistic expression, although he could get away with releasing a string of singles for pretty much any label he deemed fit. His latest album is a distraction, refuge and personal remedy from the white noise and hysteria of his surroundings and encapsulates the artistic maturity and versatility of an artist that has defied trends, formulas and genre confines. Renowned for his unique talent to instil a multitude of influences in his productions, from his punk/hardcore origins to techno, house and dub, Klute’s broad repertoire abounds with incredibly inspirational music.
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.
A mini-interview with 22 short questions (some personal, some tricky) looking for equally short answers, addressed to artists, producers, promoters, djs, friends and affiliates of the blog in general.
Today Nymfo Jumps the Q
Let’s get started:
A prolific drum and bass artist and a dexterous dj, with bookings all around the globe, Nymfo is the recording alias of Bardo Camp. Hailing from Netherlands and currently based in Amsterdam, Nymfo has been creating serious waves in the international drum and bass scene, since his inaugural release in 2007. Fast forward to 2013, Nymfo has cemented his reputation as an innovative and versatile producer, covering a wide range in the drum and bass spectrum. With numerous production outputs under his belt, on some of the most prominent drum and bass labels, as well as dj sets at the world’s most prestigious venues, the future seems ever brighter.
A veteran producer, a prolific artist, a dexterous sonic fusioneer, a label owner and one of the most interesting figures in the drum and bass circuit Klute is the primary recording alias of Tom Withers.