“ … a contemporary take on 80’s aesthetics, analogue synthesizers, flamboyancy and neon lights; a diverse canvas of nostalgia, audacity, luminescence, aspects and aspirations …”
Back To The Future poster
Beastie Respond is the recording alias of Danish producer Tobias Pedersen. He made his discography debut in 2011 for the bass music label Teal Recordings. After two singles on Teal, he released his sophomore personal album entitled “Fictitious Nostalgia” in 2013. Effortlessly oscillating between genres and styles, from electro and techno to experimental 85/170 electronica and drum and bass, drawing from a wide palette of musical influences (from the cinematic likes of Brian Eno and John Carpenter to the dark melancholy of The Cure to the minimalism and genre-defiance of the Autonomic movement), his talents were readily picked up by forward-thinking labels like Exit, CX Digital and Demand for a string of fine guest appearances; the highlight being the track “One More Second”, which was selected for the second volume of the critically acclaimed “Mosaic” series, released by dBridge’s Exit Records.
“Intrigue came about from a desire to put on liquid funk nights in Bristol and showcase our sound. After a few years it developed into a record label, which was something I’d wanted to do since getting into production back in 2000.” – Ben Payne
The fifteenth installment of the blog’s “Count To Ten” series is dedicated to one of Bristol’s finest drum & bass outlets Intrigue Music. The brainchild of Ben Payne, Intrigue has been an integral part of the Bristol drum & bass landscape. Named after the successful eponymous club night in Bristol, which in turn was inspired by Fabio’s famous “Swerve” nights in London (hence Intrigue Music has been arguably considered as the natural successor of Creative Source), the label’s inaugural release saw the light of day in 2009, however its conception dates back to 2003. Continue reading
“… At Basement Records we also wanted the artists to sample as little as possible, to create pioneering and original material, hence the label title ‘Precious Material’. Some of the releases are produced in the studio and some are recorded live performances…”- Phil Wells reflects on the label’s ethos and purpose
After a long hiatus, the blog’s “Whatever happened to …?” series return with the 9th installment. This time into the limelight is Precious Material; one of the most exhilarating and pioneering drum & bass labels of the mid-90s. Though short-lived, Precious Material has been one of the finest outlets of experimental drum and bass, integrating elements from various musical genres into the drum & bass template, defying stereotypes, constraints and agendas.
Established by Phil Wells in 1994 as a Basement Records’ subsidiary, during a time when drum & bass was still in its infancy, the main driver had been to foster a creative environment for established, as well as up-and-coming artists, free from dance-floor reactions and limitations. Following the huge success of the parent label Basement Records during the early rave years and the jungle/drum & bass evolution, Phil’s aspiration and incentive had always been to spearhead a new musical direction and introduce drum & bass to wider audiences.
Blu Mar Ten Music
“We release music we like made by people we like.”- Blu Mar Ten on the ethos of their label
After experimentation with various electronic music genres, two non-d&b studio albums and a string of drum and bass releases on a wide array of prestigious labels, Blu Mar Ten marked their glorious comeback to familiar musical paths with the establishment of their own imprint Blu Mar Ten Music (BMTM) in 2009. The label was initially set to accomodate for their own material and Blu Mar Ten released two studio albums in the next two years, entitled Natural History and Love Is The Devil respectively. They also commissioned a multi-part remix series to augment both projects, with contributions from established artists across the scene, achieving critical acclaim and remarkable chart success. Continue reading
“Down by the Sea, No-one but me, Caught in the rain, I’m free again, Stood on the pier, No trace of tears, Right back where I started from, I know that I wasn’t wrong, Right back where I started from”
Saint Etienne – Down By The Sea, Continental LP, L’appareil-Photo/ReadyMade Records, Japan, 1997
This is the third installment of the blog’s new series “Tracks I Wish I’d Written”.
Every track that is presented in the series has been hand-picked from my personal record collection and has had a profound impact on my music taste. Featuring a variety of tracks across the electronic music spectrum, emphasizing mainly on drum and bass, from undisputed classics to underrated gems – all tracks I wish I had written, as the title of the series clearly states.
The third issue of the series is about one of the most exhilarating and beautiful fusions of pop sensibility in a drum and bass context. PFM, an artist always in the vanguard of the atmospheric and ambient side of drum and bass, has applied his studio wizardry to capture the desolation and melancholy of a pop song and encapsulate it in an elegant and illustrious drum and bass masterpiece.
“… from a musical point of view, I always intended to release stuff that would hopefully stand the test of time, hence the label name. Having said that, I never would have thought that people would still be listening to some of it 20+ years later! It’s proper mad, but really cool, it’s made it all worthwhile!” – Graham Mew (aka The Invisible Man) on Timeless Recordings
“We’re trying to push the sounds that were around in the mid-1990s, but update them … We’re keen to bring back experimentation. I think it’s something that has been lost over the past ten years. You’ve got more and more dance-floor fodder coming out. Drum and bass became about the same people for too long. We’re well aware that in two years it won’t be our stuff that’s being played, it’ll be someone else’s. That’s what makes it healthy” – Guy Brewer, prior to a Commix set at Aperture, June 2008
This is the second installment of the blog’s new series “Tracks I Wish I’d Written”.
Every track that will be presented in the series has been hand-picked from my personal record collection and has had a profound impact on my musical taste. Featuring a variety of tracks across the electronic music spectrum, emphasizing mainly on drum and bass, from undisputed classics to underrated gems – all tracks I wish I’d written, as the title of the series clearly states.
Commix – Be True
The first feature of the series has been about a Photek production released in 1996. Making a leap in time and fast forward to 2007, the second issue is about a modern drum and bass classic; perhaps the most celebrated track from one of the most fascinating and talented drum and bass outfits of the last decade, Commix.