“Ever get that feeling, when you experience some sort of musical epiphany and strive to memorize the melody and the lyrics of a song you have just listened to, before they‘re lost into the next morning’s haze?”
This month is my blog’s 8th year anniversary and to be honest I’ve never expected to make it this far. It has been a unique opportunity to connect with some of my musical icons, as well as with many like-minded people across the world and celebrate the music we all love. Traditionally, the anniversary features are retrospective accounts and this one will be no exception; another one of my tedious lists, supplemented with a few comments, liner notes and fan facts.
“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.
Blu Mar Ten Music
“We release music we like made by people we like.”- Blu Mar Ten on the ethos of their label
After experimentation with various electronic music genres, two non-d&b studio albums and a string of drum and bass releases on a wide array of prestigious labels, Blu Mar Ten marked their glorious comeback to familiar musical paths with the establishment of their own imprint Blu Mar Ten Music (BMTM) in 2009. The label was initially set to accomodate for their own material and Blu Mar Ten released two studio albums in the next two years, entitled Natural History and Love Is The Devil respectively. They also commissioned a multi-part remix series to augment both projects, with contributions from established artists across the scene, achieving critical acclaim and remarkable chart success. Continue reading
Few musical acts can lay claim to such dynamic and consistent evolution as Blu Mar Ten.
Blu Mar Ten
Formed in the big-bang of 90′s drum & bass and regular faces at Rage, Metalheadz Sessions, Speed & AWOL, Blu Mar Ten were rapidly spotted by LTJ Bukem and signed to Good Looking Records, cementing their position in the genre as originators of complex, atmospheric music.