“All our music is there to capture the imagination and we were writing tunes so they could be listened to as whole pieces or stories, rather than dj tools. The idea of people interpreting the songs in different ways and creating their own narratives is really interesting to us”.
‘A good sample is worth a thousand synths or plug-ins’
Blocks & Escher – Broken/Sagan (NARRATIVES001)
The next installment of the series is about one of my favourite tracks of recent years, which has all the qualifying attributes of an instant classic. In a previous post I had manifested the importance of a memorable, intriguing, even cryptic artist name or an appealing title/logo for a record label. Our culture of distraction and minimal attention span seems unrelenting on burying new music beneath an endless scroll. An attractive name won’t compensate for dreadful music, but it’s definitely a head-start and if there’s a chance to go down in musical history, then it’d better take place in style. I can see eyebrows raising already; however following the aforementioned maxim I have made brilliant discoveries over the years.
I stumbled upon Narratives Music, while browsing Surus, the now defunct online store managed by ST Holdings. It’s been one of those cases that I was sold, before even listening to a single clip. The austere brand logo, featuring the ‘NARRATIVES’ title enclosed in brackets, with white font superimposed on a plain black background (the logo has later appeared in various artistic coloured variations), as well as the label name itself were an overture to cast my own interpretations and visualize my own subjective account of the images, the stories and the sentiments the music conveyed.
The last few years, drum and bass has achieved an unprecedented popular expansion, appealing to wider audiences and receiving support and radio airplay by many non-drum and bass djs and radio producers as well as hitting top spots in the music charts. Going in circles, from the early hardcore/breakbeat days to contemporary drum and bass, it has been one of the most interesting electronic music genres to follow. Influenced by a plethora of music genres, whether it is hip-hop, techno, soul or jazz, drum and bass covers a wide spectrum to satisfy everyone’s taste and preference. The drum and bass road however, hasn’t been always paved with roses. Every now and then a new injection of fresh sounds and production techniques has been pivotal to refresh people’s interest, as it has happened several times during the 90s. Fast Forward to 2009…
Minimal drum & bass and the Autonomic initiative
For several years in the second half of the past decade, drum and bass had been fairly stagnant, focusing on dance floor smashers. Minimal drum and bass, as the term suggests, is a sub-genre (one of too many nowadays) of drum and bass, stripping down the sound, diverting from the traditional forms without however ceasing to be drum and bass. The tempo remains generally close to the average drum and bass speed (around 170 bpm), however many other aspects of the music contrast highly with contemporary trends in drum and bass. One of the main attributes is a half-time drum rhythm, reducing the perceived speed, while staying to the same bpm. The drum production versatility is retained; quiet percussions, deep sub-bass, eerie synths, subdued melodies and unusual beats are often used, similar to dubstep and future garage productions, hence the confusion that inevitably takes place due to the human need to pigeonhole. Continue reading