“Back then, you might hear an incredible new tune played exclusively on a plate by a DJ like Bukem or Fabio and you’d have to wait for months before you could get it on vinyl. That was part of the magic of the scene at the time. Nowadays, if you hear an amazing tune played on the radio you can typically stream it instantly online. The convenience is great, but with this ease of access, people (myself included) are more inclined to take music for granted to the extent that its impact and mystique is lost”.
When I started listening to drum & bass I was intrigued, inspired and seduced by the faceless mystique and the self-reliant attitude of so many artists and labels exploring this bold new cultural form. That experimental fearlessness, an entry point and an outlier both at the same time, captured a vital moment – one that could probably never be replicated – where no approach was off-limits. In the early 90s, the connections with my musical heroes were the odd dj gig, cassette tapes changing hands, magazines and the liner notes/credits on the record sleeves. Then the internet revolution came, which provided a portal to a (brave) new world and unprecedented access to all of us who had been on the outside looking in.
“… 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 …”
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.
“… from a musical point of view, I always intended to release stuff that would hopefully stand the test of time, hence the label name. Having said that, I never would have thought that people would still be listening to some of it 20+ years later! It’s proper mad, but really cool, it’s made it all worthwhile!” – Graham Mew (aka The Invisible Man) on Timeless Recordings
Mouly & Lucida
The eighth installment of the “Whatever happened to …?” series is dedicated to one of the most exciting, though short-lived, mid-nineties drum and bass outfits Mouly & Lucida. Both hailing from the town of Abingdon, Oxfordshire, UK, the duo emerged in 1995, championing the quality over quantity ethos, creating serious waves in the drum and bass landscape of the time.
Essence Of Aura
The sixth installment of the “Whatever happened to…?” series is dedicated to a highly influential music trio; one of the pioneering electronic music bands that came from hardcore beginnings, progressed through jungle techno to drum and bass and has been active throughout the first half of the 90s. Despite their short-lived career, the trio released timeless classics along the way, before they finally disbanded in 1996.
Essence Of Aura, referred to also as EOA onwards, were formed in late 1990, originally based in Kenilworth, UK before moving to Coventry in 1992. The founding members have been Tim Grantham (DJing, Management and Production responsibilities) Ian Scott (Sampling and Production) and James Mitton-Wade (Production, Programming and Engineering duties for all EOA tracks).