Count To Ten: Cross-genre drum & bass remixes – part 2 (1997-99)

The second part of the blog’s mini-series covers the period 1997-99. What may have started timidly for artistic purposes or exclusive dj promotional use, by 1997 it became almost de rigueur for record labels to commission drum & bass versions for selected singles and various remix compilations. The niche underground genre infiltrated the mainstream and many d&b producers signed with major labels to curate collections or record personal albums. On reflection, it turned out to be a double-edged sword.

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On one hand, d&b found its well-deserved place on the electronic music map. Artists were finally rewarded and vindicated for their efforts and their work was introduced from a limited connoisseur circle to a wider audience, providing them with a vital and creative space for experimentation. Commercial success and critic appreciation motivated accomplished, as well as up-and-coming producers to master their craft, pushing the musical boundaries beyond genre confines. On the other hand, the roller coaster of media exposure, politics, cloudy distribution and licensing agreements, self-indulgence and the drama that inevitably occurs when money and temporary fame enter the equation, terminated careers and friendships untimely and ingloriously. Effectively, drum & bass re-entered a phase of introversion, darkness and belligerence marking the end of the romance. An injection of fresh air was desperately needed and a new breed of producers and record labels emerged to fill in the gap created by those who helped the scene flourish, but sadly realized that they no longer fitted in the d&b reality of the new millennium.

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Count To Ten: Cross-genre drum & bass remixes – part 1 (1995-96)

This is the first part of a mini-series focusing on cross-genre drum & bass remixes; from subtle re-interpretations to complete re-constructions. The burgeoning d&b popularity in the mid-90s attracted media attention and interest from independent, as well as major record labels, which commissioned d&b remixes for their artists across the music spectrum; from post-punk and progressive rock, to indie-pop and acid jazz. The syncopated, sample-based drum & bass template accommodated for experimentation and fostered an adventurous environment to introduce innovative production techniques and sonic landscapes.

Mosaic

In hindsight, efficient promotional, publishing, licensing and distribution models exposed UK drum & bass to the large emerging markets of Japan and USA and the genre has been effectively embraced by a wider audience. Many artists seized the opportunity to explore new musical paths. However, what started with bona fide artistic and creative intentions came with a price. In certain cases, it was no more than a sly scheme to cash in on the niche genre emerging from the underground. As a counter-measure, a few years later, the d&b scene retreated back to introversion, inaccessibility and darkness with many struggling to find their place in the new bleak reality (more on part 2).

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Tracks I Wish I’d Written (issue #8): Instra:mental – Photograph

“… 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

Instramental

Instra:mental

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.

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Count To Ten: Drum & Bass Illustrations and Record Sleeves

“… drawing a fine line between the sublime and the ordinary, the initial presentation criteria have been the aesthetic quality of the imagery, the nature of its production, the relationship to the music on the record and obviously my personal attachment …”

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Drum & Bass Record Sleeves

Something completely different for the last post of 2016; instead of the music per se, the next installment of the blog’s ‘Count To Ten’ series is dedicated to artwork design, an essential aspect of the physical product. The size and tactile experience of the record sleeve is one of the reasons why vinyl records remain the most enjoyable way to listen to music. The recent vinyl resurgence has rekindled the art of the record layout. Whether it’s hand-made or mass-produced, meticulously arranged or spontaneously created, the cover artwork adds a literal dimension to the music that a digital thumbnail simply cannot replicate.

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All Hidden Agenda mix by Law

My friend Ricky Law @ Drumtrip UK, recorded a fine mix paying tribute to one of my all-time favourite artists Hidden Agenda, featuring a plethora of classics, as well as underrated gems like “Get Carter”, “Sirens” and “The Wall With Paintings” remixes.

Biography, discography highlights, reviews and all things Hidden Agenda are available in the blog’s archive here

You may read the original post on Drumtrip here

An older Q&A with Law, from the blog’s archives, is available here

Digital Jumps The Q

“I don’t feel I was trying to be anyone else, I was drawing from my influences when I was younger, a bit of reggae, hip-hop … It was coming straight from the heart and I think that’s important” – Digital on his first production steps calling for individuality – Red Bull Music Academy, Rome, 2004

Digital

The next international guest of the blog’s “Jump the Q” series is Digital; one of the most prolific, influential, consistent and widely respected drum & bass artists. Two decades after his inaugural solo release, with an enviable and extensive back catalogue under his belt, as well as a plethora of classics for the genre’s most prestigious record labels, Digital celebrates the 20 years milestone of his recording career with the re-launch of his own imprint Function Records.

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Tracks I Wish I’d Written (issue #2): Commix – Be True

“We’re trying to push the sounds that were around in the mid-1990s, but update them … We’re keen to bring back experimentation. I think it’s something that has been lost over the past ten years. You’ve got more and more dance-floor fodder coming out. Drum and bass became about the same people for too long. We’re well aware that in two years it won’t be our stuff that’s being played, it’ll be someone else’s. That’s what makes it healthy” – Guy Brewer, prior to a Commix set at Aperture, June 2008

This is the second installment of the blog’s new series “Tracks I Wish I’d Written”.

Every track that will be presented in the series has been hand-picked from my personal record collection and has had a profound impact on my musical 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’d written, as the title of the series clearly states.

Commix - Be True

Commix – Be True

The first feature of the series has been about a Photek production released in 1996. Making a leap in time and fast forward to 2007, the second issue is about a modern drum and bass classic; perhaps the most celebrated track from one of the most fascinating and talented drum and bass outfits of the last decade, Commix.

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