“A song for a life I left behind”
Calibre – Hypnotise (SOULR016, 2004)
When I started the ‘Tracks I Wish I’d Written’ series six years ago, I had an abstract vision in mind: to hand-pick, document and present sentimental music from my collection in an endeavor to unlock something magical, to capture that moment in time and that beautiful place, which are both tantalizingly at your fingertips, but seem always out of reach. The blog is mainly d&b-oriented, as is my record collection, so intuitively most installments feature drum & tracks, or to be more precise tracks loosely or directly related to the drum & bass template and aesthetic.
The next edition of the ‘Tracks I Wish I’d Written’ was in fact pencilled to feature at the start of the series, but somehow I didn’t feel confident enough or emotionally detached to talk about it, until now. It’s a track that gracefully reflects the arrogance and naivety of an earlier life, which I wasn’t quite ready to leave behind. Quoting Johnny Lee Miller’s character ‘Sickboy’ in Trainspotting 2: “Nostalgia. That’s why you’re here. You’re a tourist in your own youth”.
“Love and other tragedies are recurring themes in the series. Whoever thought that d&b is cold, emotionless and monotonous music, clearly haven’t been paying attention…”
I realize that the series read like another generic countdown list, however there are deeper connotations to me. It’s a retrospective musical diary; a timeline that reflects and documents what I’ve been listening to in various periods of my life. Over time, my militant musical views have – thankfully – attenuated and I’ve come to embrace and appreciate a broader musical spectrum. Hence, all the producers who feature on the series are artists that have resonated with me and have steered away from rigid, formulaic corners.
The third part of the mini-series covers the period 2000-09. At the dawn of the new millennium the majors had turned their backs to drum & bass and adopted a more chart-friendly policy. The halcyon days seemed abruptly over, artists turned almost overnight from media darlings to pariahs and the music press headlines proclaimed the death of the genre. But drum & bass was too cool for that. After a short period of introspection and re-invention, d&b returned stronger than ever. A new wave of artists and record labels pushed the musical boundaries beyond genre confines and soon d&b regained its well-deserved place in the electronic music map; from a limited connoisseur circle to a global audience, from sweaty basements and midweek slots to headlining club main stages and festivals.
“… definitely there’s something about you…”
Golden Girl (GLR066)
Throwback to the season 2003-04, a happy and eventful period of my life I reminisce about with bittersweet nostalgia. I was living in London at the time immersing myself in the city’s night life like there was no tomorrow, camouflaging the cultural shock of rubbing shoulders with my musical icons. The London drum & bass scene was flourishing, club nights talking place in abundance. From mid-week events like Fabio’s ‘Swerve’ Wednesdays at The End and ‘Movement’ Thursdays at Bar Rumba to the main Friday residencies like Fabric Room 2 label takeovers, Good Looking’s ‘Progression Sessions’, Ram and Renegade Hardware at The End, to the ad hoc d&b parties at Jazz Café, Heaven, Ministry of Sound, Carling Academy, Cargo and Plastic People to Sunday evenings at Herbal with ‘Hospitality’ and Grooverider’s ‘Grace’. There must have been definitely many more I have forgotten to highlight as memories tend to blur after all these years, but there was always something happening to accommodate for every musical taste. It was evident, even then, that it was only a matter of time, before drum & bass would sell out big clubs and headline festivals across the world.
“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.
A veteran producer, a prolific artist, a dexterous sonic fusioneer, a label owner and one of the most interesting figures in the drum and bass circuit Klute is the primary recording alias of Tom Withers.
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.