Tracks I Wish I’d Written (issue #14): Klute – We Control The Vertical

“… a touching piece of graffiti appeared on a wall during the gig – a vertical line, a horizontal line and then the two conjoined – we control the vertical, we control the horizontal, we control the Zig Zag…”

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The Emperor’s New Clothes LP

Over the years I have developed a penchant 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 traditional 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, unveiling beauty and truth in due course.

So far, all the tracks presented in the ‘Tracks I Wish I’d Written’ series have been taken from singles or EPs – the only exception being issue#5. However, this time around I revisited the albums of my collection for the latest edition: throwback to 2007 for a track written and produced by a certified d&b ‘album artist’. Having released 8 studio albums and a 9th due next year, Klute has proved to be one of the most prolific, diverse and revered drum & bass producers, renowned for defying trends, formulas and genre constraints. His unique talent to instill a multitude of influences in his productions, from his punk/hardcore origins to techno, house and dub has resulted in a broad repertoire of incredibly inspirational music.

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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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