“Forget the times ahead”
As another exceptional year for important things, like new wonderful music, draws to an end, I would like to take the opportunity once again to thank all artists and record labels for gracing this year with their beautiful music and safeguarding the art, the passion and the romance. Despite our culture of distraction and minimal attention span that seems hell-bent on burying new releases beneath an endless scroll and the convenience and luxury of streaming technology, the beauty of music transcends through time or media formats and listeners that are really into music are still paying attention.
“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.
“No? Who am I then? – A puppet. – And you’re not? Or maybe, you’re my puppet. But like all puppets you think you’re actually human. It’s the puppet’s dream, being human.”
Silent Dust is the musical project of Andy Hobbs (Hobzee) and Daniel Blishen (Zyon Base). They have been producing music under their respective solo monikers for more than a decade and made their discography debut as a duo in 2008. Hobzee & Zyon Base forged their unique career path from the prevalent post-liquid drum & bass sound to the outskirts of Autonomic with releases on some of the genre’s renowned labels including SGN:LTD, Fokuz, Influenza Media and Samurai Music (‘1000 Paper Cranes’ is a firm favourite), which garnered wide support and praise by the genre’s most prolific djs and taste-makers.
From Kiel & Berlin to London & San Diego, cool has been re-imagined
“… ‘77’ seems a piece that has a rather elegant flow, something I always appreciated about d&b very much. Although this might not be a d&b release from a ‘genre-stalinist’ perspective, I’d still argue that it at least attempts to relate to that kind of aesthetic …” – Ulrich Schnauss
James Clements and Ulrich Schnauss in their studios
Leaping in time from the nostalgically distant 1994 and Foul Play to 2012 for the 10th installment of the ‘Tracks I Wish I’d Written’ series. It’s been a rare occasion that two of my all-time favourite electronic music artists have combined their studio wizardry for an exquisite collaboration, which succinctly encapsulates their cinematic aesthetics. Having a visionary and eclectic scope, sophisticated production and composition qualities, as well as enviable back catalogues transcending genres and styles, James Clements and Ulrich Schnauss are purveyors of the finest electronic music.
“A passion for music that gradually escalated over time into a controlled obsession”
It has been three years since this blog went online, although its conception goes further back, so I eventually decided it’s about time I shared some thoughts about how it all started, as well as provide a retrospective account of the events that influenced the blog’s thematic basis. At the end of the feature, there is a quick walk-through the blog’s various categories/series and a brief background story behind each one of them.
Bushidō (武士道), literally “military scholar road”, is a Japanese word for the way of the Samurai life, loosely analogous to the concept of chivalry; a rather modern term than a historical one.
Godisnolongeradj caught up with Geoff Wright (aka DJ Presha and head honcho of the Samurai Music group) in Athens after his gig, to discuss all things Samurai, inspired by the seven main virtues of the “Bushido Code”.
A mini-interview with 22 short questions (some personal, some tricky) looking for equally short answers, addressed to artists, producers, promoters, djs, friends and affiliates of the blog in general.
Today Nymfo Jumps the Q
Let’s get started:
A prolific drum and bass artist and a dexterous dj, with bookings all around the globe, Nymfo is the recording alias of Bardo Camp. Hailing from Netherlands and currently based in Amsterdam, Nymfo has been creating serious waves in the international drum and bass scene, since his inaugural release in 2007. Fast forward to 2013, Nymfo has cemented his reputation as an innovative and versatile producer, covering a wide range in the drum and bass spectrum. With numerous production outputs under his belt, on some of the most prominent drum and bass labels, as well as dj sets at the world’s most prestigious venues, the future seems ever brighter.
A veteran producer, a prolific artist, a dexterous sonic fusioneer, a label owner and one of the most interesting figures in the drum and bass circuit Klute is the primary recording alias of Tom Withers.
Wednesday evening, January 18th, 2012 around 22:00, outside Heathrow airport
It had been almost 2 years since the last time; however the smell, the blowing wind and the sense of euphoria every time he landed on that soil hadn’t changed a bit. He and his mates grabbed a cab to the hotel close to his old neighbourhood, checking impatiently their watches anxious to be on time for the last orders in the pub; not a second should be wasted. The schedule for the trip was really tight, too many things to do, too little time.
Friday afternoon, January 20th, 2013, somewhere in central London