“Sacrificing time, energy and money to keep an independent record label afloat in a niche and saturated market is a reality we often ignore or overlook, especially when it comes to investing on the vinyl format. So, I take the opportunity to thank all artists and record labels for gracing this year with their beautiful music and safeguarding the art, the passion and the romance”.
The last blog post of the year is traditionally a retrospective countdown. Though our culture of distraction and minimal attention span seems unrelenting on burying new releases beneath an endless scroll, 2018 has been exceptional for important things like new, fascinating music. From the establishment of new boutique record labels and classic album re-issues, to much-anticipated debuts, spectacular or dramatic comebacks, this year abounded with great music. My penchant for LPs was more than clear in the previous post, however I feel the urge to express it once again: Album writing has always been and still remains an art form. When you want to make a statement in music, you write an album and at the moment those statements are more exciting, varied and relevant than ever before.
What the sleeve notes never tell you
It’s been 16 months since the original post , which was meant to be a one-off feature; however I always felt that it’s been somehow incomplete. The constructive feedback I received, occasionally bordering on debate over a matter de facto subjective, convinced me to revisit the topic; paraphrasing Nick Hornby “a sneer at the bad choices, an understated but supportive raise of the eyebrow for the good ones”. So, instead of updating the list, I decided to compile a new one containing record artwork I had intentionally omitted for a variety of reasons, as well as couple of recent entries.
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.
“… the track had a very heavy nostalgic feeling to it, like you were looking at an old photo album with the faded film of childhood memories, simpler times. We are both massive fans of video and with ‘Photograph’ it’s like we envisioned it to be scene of a film …” – Damon Kirkham reflects on the track’s conception
“… ‘Photograph’ takes the deep, emotive route of previous releases ‘Pacific Heights’ and ‘Sakura’ into the most beatific, blissful and evocative music they have yet conspired to create… in short, a modern masterpiece” – Triple Vision Distribution, Press Release, May 2009
Leaving the mid-90s drum & bass golden era and fast forward to 2009, the 8th installment of the blog’s ‘Tracks I Wish I’d Written’ series is about a distinctive and quintessential track of the ‘Autonomic’ era, written and produced by Instra:mental, the masters of electronic reverie. Introducing a wide palette of sound sources and analogue production techniques, profoundly influenced by a variety of musical styles from years past, Instra:mental re-imagined the drum & bass blueprint, applying a cinematic vision with a cross-genre appeal to their production output.
“Musically it’s the same button we’ve been pressing since day one, trying to find that particular and delicate place between sadness and hope. We rarely find it, exactly, but we come close sometimes. It’s like what they say about jazz players, always trying to find the ‘lost chord’ …” – Interview for UKF, November 2016.
Blu Mar Ten Album Covers
A common trait among music fans is their ability to recollect little details regarding their musical icons. A series of coincidences and seemingly unrelated events acquire a whole different gravity in hindsight. Although I firmly believe in the maxim “Don’t meet your heroes”, happily enough, meeting Blu Mar Ten has been a distinct exception to the rule and I feel quite honoured to have known them in person and consider them friends.
I accidentally discovered Blu Mar Ten in 1996 and I have closely followed their musical career path ever since. Their sophisticated approach, art and literature connotations, eclectic taste and cinematic aesthetics have never ceased to amaze me. Celebrating the 20th anniversary of their discography debut, Blu Mar Ten recently released their 7th studio album entitled ‘Empire State’. What follows is a retrospective, but not exhaustive account of their career from my biased perspective, emphasizing on releases, which I have associated with fond memories and have had a profound impact on me; an array of reminiscences printed on vinyl grooves. Browsing through my record collection, I also present my personal highlights from each LP, instead of a track-by-track review, trying also to deduce and identify their creative influences. This is essentially my own perception and an attempt to capture the essence of the album narratives, which is completely arbitrary and probably nowhere near Blu Mar Ten’s actual vision and purpose. Nonetheless, I believe that the value of an artistic product is to create different emotions, thoughts and interpretations.
“Modern, cinematic takes on ambient electronica and vintage aesthetics, sprinkled with bitter-sweet nostalgia”
Short Trips logo
In the dawn of the 90s emerged a new musical hybrid, fusing various elements and structural forms of electronic music, relying upon composition, experimentation and innovation rather than adhering to formulaic standards associated with specific genres and styles. Free from dance-floor reactions and limitations, championed by electronic music luminaries, the new style was regarded just as suitable for dancing as for home listening. A plethora of generic, as well as imaginative terms were conceived to outline the genre. Continue reading
“ … a contemporary take on 80’s aesthetics, analogue synthesizers, flamboyancy and neon lights; a diverse canvas of nostalgia, audacity, luminescence, aspects and aspirations …”
Back To The Future poster
Beastie Respond is the recording alias of Danish producer Tobias Pedersen. He made his discography debut in 2011 for the bass music label Teal Recordings. After two singles on Teal, he released his sophomore personal album entitled “Fictitious Nostalgia” in 2013. Effortlessly oscillating between genres and styles, from electro and techno to experimental 85/170 electronica and drum and bass, drawing from a wide palette of musical influences (from the cinematic likes of Brian Eno and John Carpenter to the dark melancholy of The Cure to the minimalism and genre-defiance of the Autonomic movement), his talents were readily picked up by forward-thinking labels like Exit, CX Digital and Demand for a string of fine guest appearances; the highlight being the track “One More Second”, which was selected for the second volume of the critically acclaimed “Mosaic” series, released by dBridge’s Exit Records.