“The name Killer Smile just seemed to fit with our vision of the label, a multi-genre label putting out dancefloor tracks built around killer breaks and basslines, as well as more emotive tracks made to put a smile on your face…”
There’s music that captures and echoes a beautiful time and place, staying with you forever. Foul Play have resonated with me from the very first moment and will always reserve a special place in my heart and record collection. On November 2013, I published “Whatever happened to … Foul Play?”, a retrospective account of their history, discography highlights and musical legacy. A later edition of the blog’s “Tracks I Wish I’d Written” series included some edits and finer details. Fast forward to the present, jungle/drum & bass legend and Foul Play founding member John Morrow picks up the narrative where it left off: from the last chapter of Foul Play for Partisan and his cross-genre solo musical explorations as Johnny Halo and Skeleton Army, to the chain of events that rekindled his passion for drum & bass and the launch of his new boutique label Killer Smile (the 4th after Oblivion, Panik and Cellar Door). The sequel I never thought I’d write …
“The words ‘Every second takes an hour’ explained perfectly the strange time-warp-like atmosphere in ‘The Fridge’; it was so easy to lose track of time in there. Then the next line ‘and each one seems the last’ illustrates that feeling of impending doom that I felt at the time …”
Rise Of The Phoenix EP, WYHS040, 1995
I have been contemplating a Bay B Kane blog feature for years. I had even drafted several sketches, but for one reason or another they remained buried in my digital archive. So, in that sense, the 16th edition of the “Tracks I Wish I’d Written” is long overdue. I was recently listening back to Bay B Kane’s ‘Rise Of The Phoenix EP’, when my daughter playfully asked me about the vocal sample. That was the trigger to finally pay my respects to one of the true pioneers, who heralded the transition from hardcore to jungle; a master manipulator of breaks and samples from the most unusual sources (from hip hop and obscure techno to art rock and pop) and whose musical contribution should be sung really louder.
“I wanted to use a methodical, timeless word, which could have different meanings. Obviously, ‘Rotation’ for circular motion on a turntable, ‘Rotation’ in life’s cycle, ‘Rotation’ in art forms that appear, fade, reappear, ‘Rotation’ as a whole; and then ‘Audio’, because audio production is what we’re involved in”.
I have been browsing through my notes pondering about the blog’s 7th year anniversary feature (due this coming April) and couldn’t help wondering about the lengths d&b has reached after all these years. The scene seems as exciting and healthy as ever, abounding with great new music literally every week. It’s been definitely easier, almost de rigueur to establish a new record label nowadays, as opposed to the 90s, however to carve a niche in a small yet saturated market without vision, purpose and commitment is a first class ticket to disappointment.
The next installment of the blog’s ‘This Side/That Side’ label profile series, is about a brand-new, boutique independent record label based in Bournemouth UK, which has been a creative hub the last few years. The brainchild of dj/producer Joe ‘Ride’ Rideout, Rotation Audio was founded through love and dedication to electronic music. The new label will aim to showcase some of the rawest well-known and underground talent in the drum & bass and jungle scene and will focus on the darker roots of the spectrum. Their first release emphatically validated that statement.
Most of the blog’s features are thematically based on informal conversations with my guests. Although I often include verbatim excerpts, it’s been a long time since I posted an actual interview. This is the first installment of a new category introduced to replace one of the blog’s oldest series “Jump The Q”, which has unceremoniously completed its cycle. The “Jump The Q” questionnaire template was designed to be short and simple rather than thought-provoking; the general idea being to discover a few personal details about artists and djs (from their favourite drink to the worst live performance they’ve witnessed), whose music-related work I admire and respect.
The new category titled “On The Outside, Looking In” will encompass a broad and conceptual music-centered scope. The timeline is intentionally non-linear, jumping back and forth in times and places and the head-title is borrowed from the first Modern Urban Jazz release by Glider-State (Blame & Justice); a casual chat between friends and a retrospective sneak view into old photo albums, collections, musical diaries, hazy memories and internal monologues.
Sicknote x Soul Beat Runner
The new series kicks off with two guests, who share common musical taste, vision and aesthetics, dating back to the early days of drum & bass. Really intrigued to find out more about their views, perspective and insight, I am very happy to present Lewis ‘Sicknote’ and Michael ‘Soul Beat Runner’ (SBR) discussing all things music.
GodIsNoLongeraDj cameo appearance for Vykhod Sily Podcast
Vykhod Sily (loosely translated into ‘The way the force is coming through’) is a podcast series launched and curated by DJ Rustee (from the Special Request Crew, based in Yekaterinburg, Russia) in 2013. Profoundly influenced by the Autonomic movement and modern electronica, the musical canvas covers a wide range of the d&b spectrum; from minimal half-tempo and all things 170BPM to 90’s influenced jungle.
“We’re suddenly in a period when it’s de rigueur to buy records” – Alan Scholefield, Honest Jon’s Records, London
“… but those clerks are still there, still sneering at your bad choices, offering you an understated but supportive raise of the eyebrow for your good ones.” – Nick Hornby, writer
“There was always interesting music playing, but I was too timid to actually buy a record, you know, in case I bought the wrong record” – Damon Albarn, musician, singer-songwriter
Chapter 2: Record Stores
At different times in my life, I have daydreamt about owning a record store. These days however, running one seems like a first class ticket to financial disaster. Apart from the obvious incentives, including satisfaction of my vanity and intimidation of unsuspected customers (Jack Black’s portrayal of an erratic assistant in “High Fidelity” has brilliantly set the bar too high), I have very fond childhood memories from my casual visits with my dad to the local record stores in the late 80s. I still remember a particular owner slipping mix-tapes in the bag for my school parties (an early form of piracy I guess, but this is for another chapter). I was exposed at a very young age to various musical genres, which I regrettably snubbed or simply ignored, due to immaturity and stubbornness. Very late at the party, but after a long time I gradually started to appreciate and embrace various genres and styles.
T.Power – Prospect For Democracy – S.O.U.R. (SOUR029/TPOW001R, 1995)
T.Power – Prospect For Democracy
This is my third contribution to the oldschool specialist blog Drumtrip; a review and the background story behind the track Prospect For Democracy by T.Power. You can view the original post, as well the previous installments of the TOTD series here:
In 1992, Dave Stone and Norton Blue, owners of the Trinity Studios in London, set up the UK hardcore label Dj Only Records, renamed a year later to the Sound Of The Underground Records (SOUR); one of the most influential collectives of the mid-90s jungle/drum and bass scene. The first signing of the label was the breakbeat hardcore outfit Bass Selective (Royal, Samuel, Hay, Clarke and Elizabeth Troy on vocal duties). Bass Selective went on to record four EPs; the highlight of their outputs being the piano-driven anthem Blow Out part 2.
Bass Selective disbanded in 1993 and one of the founding members, Marc Sebastian Royal emerged with the recording alias T.Power. He was readily signed as a solo artist by SOUR; a flying start for an illustrious and prolific recording career. It was only two years later however, that he would create serious waves in the drum and bass proceedings.