Tracks I Wish I’d Written (issue #17): 36 – Fade To Grey

“… I can’t understand those musicians who make the most beautiful music, but show little care or attention for the visual side. It’s like stuffing a Rembrandt painting inside a £5 plastic frame from IKEA …”

Fade To Grey

36 – Fade To Grey

The ‘Tracks I Wish I’d Written’ series is perhaps the most personal, preferential and esoteric category of the blog. The title is self-explanatory and the concept straightforward. I hand-pick records from my collection – records I am fondly attached with and I wish my name was credited on the sleeve – and present them emphasizing on the background stories, the imagery and the messages the music conveys.

When I started the series, I had in mind a set of restrictions, a self-imposed dogma in order to confine the scope. The blog is mainly d&b-oriented, as is my record collection, so intuitively all previous instalments featured drum & tracks, or to be more precise tracks loosely or directly related to the drum & bass template and aesthetic. The concept has been captured eloquently by Ulrich Schnauss in the opening line of the 10th edition of the series:

‘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…

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Tracks I Wish I’d Written (issue #10): Ulrich Schnauss & ASC – 77

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

ASC & Ulrich Studio Pic

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.

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