On The Outside, Looking In Vol. 1: Sicknote x Soul Beat Runner

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 SBR

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.

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Count To Ten: Cross-genre drum & bass remixes – part 1 (1995-96)

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.

Mosaic

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).

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Count To Ten: Ed Rush

Ed Rush

Ed Rush

Intro:

The twelfth installment of the blog’s Count To Ten series is dedicated to a leading figure in the drum and bass proceedings; a prolific artist, a veteran dj with bookings worldwide, a label owner and the undisputed leader of the wave of noir that has swept the scene in the second half of the 90s, Ed Rush.

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