Most of the blog’s features are thematically based on informal conversations with my guests. Although I often include verbatim excerpts, it’s been a long time since I posted an actual interview. This is the first installment of a new category introduced to replace one of the blog’s oldest series “Jump The Q”, which has unceremoniously completed its cycle. The “Jump The Q” questionnaire template was designed to be short and simple rather than thought-provoking; the general idea being to discover a few personal details about artists and djs (from their favourite drink to the worst live performance they’ve witnessed), whose music-related work I admire and respect.
The new category titled “On The Outside, Looking In” will encompass a broad and conceptual music-centered scope. The timeline is intentionally non-linear, jumping back and forth in times and places and the head-title is borrowed from the first Modern Urban Jazz release by Glider-State (Blame & Justice); a casual chat between friends and a retrospective sneak view into old photo albums, collections, musical diaries, hazy memories and internal monologues.
Sicknote x Soul Beat Runner
The new series kicks off with two guests, who share common musical taste, vision and aesthetics, dating back to the early days of drum & bass. Really intrigued to find out more about their views, perspective and insight, I am very happy to present Lewis ‘Sicknote’ and Michael ‘Soul Beat Runner’ (SBR) discussing all things music.
“… when I refer to the music now as d&b, I never really considered it much then. I know that may sound strange, but I think we always operated as outsiders; I personally always felt on the outside looking in, which is why our Glider-State track was called so…”
“… I hadn’t done anything on Modern Urban Jazz since the ‘Emotions With Intellect’ LP, so to keep the ethos going, we decided that this would be an ideal collaboration by using the Modern Urban Jazz tag on the Creative Wax label. I don’t think either of our labels had been ones to follow trends and certainly at the time we were ripe for a more experimental sound…”
Modern Urban Jazz front cover (CWLP001, 1997)
Modern Urban Jazz 01 is a seminal compilation album, curated by Tony Justice Bowes and published by Creative Wax. Celebrating the 20th anniversary of the official release, this is a retrospective account of the series of events that culminated in the realization of a brilliant project, which transcends genres and time. Titled after Justice’s eponymous record label, the compilation shares similar aesthetics and musical direction. An amalgamation of sounds with allusions to musique concrete; jazz noir, hip hop, funk, techno and electro instilled into drum & bass, with all contributing artists showcasing their musical backgrounds and creative influences, free of formulas, dancefloor reaction and genre constraints. Walking down a long, nostalgic and captivating trip down memory lane, this is a colourful and emotionally charged narrative, through the protagonists’ looking glass, filled with fond and distant memories that capture vividly the atmosphere of the mid-90s drum & bass scene.
“… At Basement Records we also wanted the artists to sample as little as possible, to create pioneering and original material, hence the label title ‘Precious Material’. Some of the releases are produced in the studio and some are recorded live performances…”- Phil Wells reflects on the label’s ethos and purpose
After a long hiatus, the blog’s “Whatever happened to …?” series return with the 9th installment. This time into the limelight is Precious Material; one of the most exhilarating and pioneering drum & bass labels of the mid-90s. Though short-lived, Precious Material has been one of the finest outlets of experimental drum and bass, integrating elements from various musical genres into the drum & bass template, defying stereotypes, constraints and agendas.
Established by Phil Wells in 1994 as a Basement Records’ subsidiary, during a time when drum & bass was still in its infancy, the main driver had been to foster a creative environment for established, as well as up-and-coming artists, free from dance-floor reactions and limitations. Following the huge success of the parent label Basement Records during the early rave years and the jungle/drum & bass evolution, Phil’s aspiration and incentive had always been to spearhead a new musical direction and introduce drum & bass to wider audiences.
“… 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