Beastie Respond – Back To The Future

“ … a contemporary take on  80’s aesthetics, analogue synthesizers, flamboyancy and neon lights; a diverse canvas of nostalgia, audacity, luminescence, aspects and aspirations …”

Poster square

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.

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Count To Ten: Intrigue Music

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

Intrigue logo small

Intrigue Music

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

Whatever happened to … Precious Material?

“… 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

Precious Material

Precious Material

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.

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Kimyan Law Jumps The Q

Blu Mar Ten Music

Blu Mar Ten Music

“We release music we like made by people we like.”- Blu Mar Ten on the ethos of their label

Intro:

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

Tracks I Wish I’d Written (issue #3): Saint Etienne – The Sea (PFM mix)

“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.

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Count To Ten: Timeless Recordings (’92 – ’99)

Timeless Recordings

Timeless Recordings

Intro

“… 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

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Tracks I Wish I’d Written (issue #2): Commix – Be True

“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

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.

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Tracks I Wish I’d Written (issue #1): The Sentinel feat. Co-Co – Toulépleu

This is the first 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.

The inaugural issue of the series is a track by Rupert Parkes; one of the most influential, prolific and iconic figures of drum and bass and electronic music in general. Continue reading

Tune Of The Day #3 – Review for drumtrip.co.uk

T.Power – Prospect For Democracy – S.O.U.R. (SOUR029/TPOW001R, 1995)

T.Power – Prospect For Democracy

This is my third contribution to the oldschool specialist blog Drumtrip; a review and the background story behind the track Prospect For Democracy by T.Power. You can view the original post, as well the previous installments of the TOTD series here:

In 1992, Dave Stone and Norton Blue, owners of the Trinity Studios in London, set up the UK hardcore label Dj Only Records, renamed a year later to the Sound Of The Underground Records (SOUR); one of the most influential collectives of the mid-90s jungle/drum and bass scene. The first signing of the label was the breakbeat hardcore outfit Bass Selective (Royal, Samuel, Hay, Clarke and Elizabeth Troy on vocal duties). Bass Selective went on to record four EPs; the highlight of their outputs being the piano-driven anthem Blow Out part 2.

Bass Selective disbanded in 1993 and one of the founding members, Marc Sebastian Royal emerged with the recording alias T.Power. He was readily signed as a solo artist by SOUR; a flying start for an illustrious and prolific recording career. It was only two years later however, that he would create serious waves in the drum and bass proceedings.

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Whatever happened to … Hidden Agenda?

This is the first installment (an updated version in terms of content and structure) of the blog’s Whatever happened to …? article series, inspired by the eponymous Hidden Agenda album, released on the Swiss label Straight Ahead in 2000.

Hidden Agenda

Hidden Agenda

Intro:

“They’re talented boys! Fusing old-skool jazz, with a touch of the Miles stylez. They deal with a genre which was previously missing from Metalheadz. Our Urban Break-beat representatives up north”. – Goldie on Hidden Agenda

“Metalheadz gives us the freedom to try out new things and to develop our music without the usual constraints alongside like-minded artists”. – Hidden Agenda

(Notes taken from the inner sleeve of the first Platinum Breakz volume, released in 1996)

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