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.
“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.
“Down by the Sea, No-one but me, Caught in the rain, I’m free again, Stood on the pier, No trace of tears, Right back where I started from, I know that I wasn’t wrong, Right back where I started from”
Saint Etienne – Down By The Sea, Continental LP, L’appareil-Photo/ReadyMade Records, Japan, 1997
This is the third installment of the blog’s new series “Tracks I Wish I’d Written”.
Every track that is presented in the series has been hand-picked from my personal record collection and has had a profound impact on my music 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 had written, as the title of the series clearly states.
The third issue of the series is about one of the most exhilarating and beautiful fusions of pop sensibility in a drum and bass context. PFM, an artist always in the vanguard of the atmospheric and ambient side of drum and bass, has applied his studio wizardry to capture the desolation and melancholy of a pop song and encapsulate it in an elegant and illustrious drum and bass masterpiece.
Godisnolongeradj caught up with Lee Batchelor of Future Engineers in Athens after his gig, to discuss his new Exhale compilation on his own imprint Transference Recordings and all things Future Engineers, starting from day one.
Lee Batchelor and Keir Cleminson are Future Engineers, a Glasgow based drum and bass production outfit, best known for their music that was released by LTJ Bukem’s Good Looking Organisation between 1999 and 2003, and also for the progressive, dance floor friendly DJ sets that they have performed across Europe.
They released their seminal 12” (“The Silence”/”Shattered”) on Renegade Recordings in 1997, quickly followed by popular material on labels such as Temple Records and Partisan Recordings. Almost 10 years since they first broke onto the scene, they have retained their reputation as a boundary-pushing and prolific drum and bass act. Their solid working relationship has been built on the foundations of a life-long friendship, having grown up together in North London and then Glasgow when Keir relocated there in 1990, followed by Lee in 1994.
From early childhood they were constantly surrounded by music – from studio sessions to live concerts – due to their fathers who were working together in the industry. Most notably, Keir’s father was lead guitarist in The Sensational Alex Harvey Band and Lee’s father co-produced some of their albums (he also co-produced “Slide Away” for Oasis on their debut album “Definitely Maybe” years later!) As a result of this exposure and the uptake of musical and studio know-how, it was a natural choice by Lee and Keir to pursue a similar career to their fathers’. Continue reading