“The Luke Skywalker of Breakbeat. He is unbelievable, he is so talented. I’ve been watching him grow up in the last two years. I’ve seen him grow from this inquisitive street kid to that age where he’s humorous and simply enjoying life. I do feel like a big brother to him.” – Goldie on J Majik, Platinum Breakz inner sleeve notes, 1996
This week is the blog’s 7th year anniversary. Traditionally, the anniversary features are retrospective accounts. To celebrate the occasion, I’ve taken a nostalgic trip back to 1997; the pinnacle of drum & bass’ golden era and a seminal year for full-length albums and various artists compilations*. Drum & bass had already attracted the media spotlight, which in turn exposed the niche genre from a limited connoisseur circle to a wider audience, providing artists with a vital and creative space for experimentation. However, what started with bona fide artistic intentions came with a price, but this is a story for another day.
As manifested in previous posts, over the years I have developed an affinity for albums. Immersing in the underlying atmosphere, I am intrigued by the influences, the samples, the lyrical motifs, the artwork, the concept, the evident or cryptic messages they convey; everything eventually culminates in a narrative with a purpose and a profound personal touch. I prefer conventional structure: an opening track foreshadowing the main theme, which is divided perhaps into multiple sections with interludes or vignettes and a closing track that concludes the musical journey. Some artists get it right effortlessly, some lose the plot midway and others end up with a collection of selected works. It doesn’t matter anyway; the merit of album writing as an art form is to evoke different emotions and interpretations, gradually unveiling beauty and truth in time.
“Musically it’s the same button we’ve been pressing since day one, trying to find that particular and delicate place between sadness and hope. We rarely find it, exactly, but we come close sometimes. It’s like what they say about jazz players, always trying to find the ‘lost chord’ …” – Interview for UKF, November 2016.
Blu Mar Ten Album Covers
A common trait among music fans is their ability to recollect little details regarding their musical icons. A series of coincidences and seemingly unrelated events acquire a whole different gravity in hindsight. Although I firmly believe in the maxim “Don’t meet your heroes”, happily enough, meeting Blu Mar Ten has been a distinct exception to the rule and I feel quite honoured to have known them in person and consider them friends.
I accidentally discovered Blu Mar Ten in 1996 and I have closely followed their musical career path ever since. Their sophisticated approach, art and literature connotations, eclectic taste and cinematic aesthetics have never ceased to amaze me. Celebrating the 20th anniversary of their discography debut, Blu Mar Ten recently released their 7th studio album entitled ‘Empire State’. What follows is a retrospective, but not exhaustive account of their career from my biased perspective, emphasizing on releases, which I have associated with fond memories and have had a profound impact on me; an array of reminiscences printed on vinyl grooves. Browsing through my record collection, I also present my personal highlights from each LP, instead of a track-by-track review, trying also to deduce and identify their creative influences. This is essentially my own perception and an attempt to capture the essence of the album narratives, which is completely arbitrary and probably nowhere near Blu Mar Ten’s actual vision and purpose. Nonetheless, I believe that the value of an artistic product is to create different emotions, thoughts and interpretations.
The seventh installment of the “Whatever happened to …?” series is dedicated to Foul Play; a pioneering, genre-defining and innovative electronic music act, heralding the transition from hardcore breakbeat to jungle/drum and bass. Being active almost throughout the 90s (the band’s synthesis changed twice during its activity, due to unforeseen circumstances) constantly re-inventing themselves, with dexterous, second-to-none programming and sample manipulation, their illustrious productions have marked indelibly the UK underground music map.