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).
“… drawing a fine line between the sublime and the ordinary, the initial presentation criteria have been the aesthetic quality of the imagery, the nature of its production, the relationship to the music on the record and obviously my personal attachment …”
Drum & Bass Record Sleeves
Something completely different for the last post of 2016; instead of the music per se, the next installment of the blog’s ‘Count To Ten’ series is dedicated to artwork design, an essential aspect of the physical product. The size and tactile experience of the record sleeve is one of the reasons why vinyl records remain the most enjoyable way to listen to music. The recent vinyl resurgence has rekindled the art of the record layout. Whether it’s hand-made or mass-produced, meticulously arranged or spontaneously created, the cover artwork adds a literal dimension to the music that a digital thumbnail simply cannot replicate.
“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.
Godisnolongeradj caught up with Lee Batchelor of Future Engineers in Athens after his gig, to discuss his new Exhale compilation on his own imprint Transference Recordings and all things Future Engineers, starting from day one.
A mini-interview with 22 short questions (some personal, some tricky) looking for equally short answers, addressed to artists, producers, promoters, djs, friends and affiliates of the blog in general.
Today Voyager Jumps the Q
Let’s get started:
The fifth installment of the series is dedicated to one of the most influential figures of the jungle/drum and bass scene Pete Parsons aka Voyager. A prolific producer and dexterous engineer, active since the early 90s and throughout the golden era of jungle/drum and bass, Parsons has made an indelible print on the underground dance music map, involved in various projects not pertaining only to drum and bass. The purpose of this article is to shed light on Parsons’ invaluable contribution to the evolution and transition of breakbeat/hardcore to ambient jungle and drum and bass.
Few musical acts can lay claim to such dynamic and consistent evolution as Blu Mar Ten.
Blu Mar Ten
Formed in the big-bang of 90′s drum & bass and regular faces at Rage, Metalheadz Sessions, Speed & AWOL, Blu Mar Ten were rapidly spotted by LTJ Bukem and signed to Good Looking Records, cementing their position in the genre as originators of complex, atmospheric music.