“A passion for music that gradually escalated over time into a controlled obsession”
It has been three years since this blog went online, although its conception goes further back, so I eventually decided it’s about time I shared some thoughts about how it all started, as well as provide a retrospective account of the events that influenced the blog’s thematic basis. At the end of the feature, there is a quick walk-through the blog’s various categories/series and a brief background story behind each one of them.
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
Audio Theory Records
Audio Theory Records, an Athens-based digital label is all set for launch on September 7th, 2012. Covering a wide spectrum of the electronic dance music from ambient to drum and bass, Audio Theory Records (ATR) aspires to create serious waves in the emerging local scene, as well as establish a creative space for new domestic and international artists.
The first release (ATR001) is a 3-track ep entitled Addictive EP by Cryogenics and is due to be released on September 7th, 2012. Cryogenics is a well-established dj in the Greek drum and bass scene as well a radio host of the Haunted Science radio show and co-owner of Audio Theory Records. A full bio, as well as links and contact details are provided at the last section of the review. Continue reading
Jump the Q
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 Cryogenics (Haunted Science, Audio Theory Records, Spaceal Orbeats, Kraak Reecords) Jumps the Q
Haunted Science Radio Show
Let’s get started:
Set 1: The man behind the mask