What the sleeve notes never tell you
It’s been 16 months since the original post , which was meant to be a one-off feature; however I always felt that it’s been somehow incomplete. The constructive feedback I received, occasionally bordering on debate over a matter de facto subjective, convinced me to revisit the topic; paraphrasing Nick Hornby “a sneer at the bad choices, an understated but supportive raise of the eyebrow for the good ones”. So, instead of updating the list, I decided to compile a new one containing record artwork I had intentionally omitted for a variety of reasons, as well as couple of recent entries.
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).
“… 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.
“Until My Dying Day was a tune UB40 had written, which was touted to be the theme for the latest Bond film at the time (GoldenEye) …”
Until My Dying Day (Icons remix)
By the first half of the 90s, UB40’s constant touring had taken its toll and the band was ready for a well-earned rest. During their sabbatical, several of the band’s members worked on their own musical projects. Earl Falconer, the group’s bassist, would follow his passion outside UB40, engaging into jungle/drum and bass production and promotion activities with remarkable success.
“… with desolate, even mournful piano notes, oscillating effortlessly between the robust and the fragile, ‘Another Silent World’ is a streamlined, almost cinematic take in a drum & bass context …”
Black Rain (album front cover)
The fifth installment of the blog’s “Tracks I Wish I’d Written” series is about an obscure track, produced in 2003 by one of my all-time favourite musicians/artists. At first glance, Black Rain might not ring any bells, as it was a cross-genre, one-off musical project, which was active in the first half of the new millennium, but regrettably stayed under the radar. Nonetheless, the members of Black Rain have been two of the most respected and celebrated drum & bass artists; Robert Haigh and Sean O’Keeffe, widely known by their primary recording aliases Omni Trio and Deep Blue respectively.
UB40 – Until My Dying Day (Icons remix)
UB40 – Until My Dying Day (Icons remix) – Dep International (DEPDJX4512, 1996)
This is my second contribution to the oldschool specialist blog Drumtrip; a review and the background story behind the classic Icons remix of UB40‘s Until My Dying Day. You can view the original post, as well the previous installments of the TOTD series here:
By the first half of the 90s, UB40’s constant touring had taken its toll and the band was ready for a well-earned rest. During their sabbatical, several of the band’s members worked on their own musical projects. Earl Falconer, the group’s bassist, would follow his passion outside UB40, engaging in jungle/drum and bass production and promotion activities with remarkable success.
The Modernists vol 1-4
The Modernists is a highly acclaimed, collectible, limited edition, compilation series project released by the forward-thinking Modern Urban Jazz (MJAZZ) label. To the time of writing The Modernists series consists of four volumes (official release date of the 4th volume is the 22nd of July, 2013), featuring mainly artists and affiliates of the MJAZZ collective. An eclectic cross-genre selection, covering a wide palette of electronic bass music, from techno to deep drum and bass, with clear electro, house and hip-hop influences, every volume seems to be pushing the music boundaries even further.
Limited to strictly 100 copies per installment, with hand finished artwork and stickers or badges included, every release is a collectible; an approach that seems to be becoming more popular within drum and bass, rendering every physical copy unique and individual.