“… 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.
“.. the name (Ancestral Voices) comes from the idea that knowledge and wisdom are passed down aurally, sonically, and experientially into our time for us to learn the laws of Nature …” – excerpt from an Ancestral Voices interview for XLR8R
Ancestral Voices is the side-project of British producer Liam Blackburn. Widely known in the electronic music circles for his solo outputs under his primary recording alias Indigo, as well as his collaborative work with Synkro for the acclaimed hybrid electronic outfit Akkord, Blackburn created Ancestral Voices to be a musical platform exempt from genre restrictions, formulaic constraints, expectations and musical agendas.
With prior releases on prestigious labels like Exit, Auxiliary, Apollo, Samurai Red Seal and Samurai Horo among others, as well as being affiliated with producers and label owners, who share the same musical ethos and vision, Ancestral Voices didn’t have to look elsewhere for a creative home. In fact, his long-term relationship with Geoff Wright (DJ Presha), the label owner of Samurai Music, who used to be Blackburn’s agent and later his mentor, provided him with the artistic freedom to re-invent his sound; hence Ancestral Voices found his natural habitat on Wright’s pristine experimental label Samurai Horo.
“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.
“Down by the Sea, No-one but me, Caught in the rain, I’m free again, Stood on the pier, No trace of tears, Right back where I started from, I know that I wasn’t wrong, Right back where I started from”
Saint Etienne – Down By The Sea, Continental LP, L’appareil-Photo/ReadyMade Records, Japan, 1997
This is the third installment of the blog’s new series “Tracks I Wish I’d Written”.
Every track that is presented in the series has been hand-picked from my personal record collection and has had a profound impact on my music 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 had written, as the title of the series clearly states.
The third issue of the series is about one of the most exhilarating and beautiful fusions of pop sensibility in a drum and bass context. PFM, an artist always in the vanguard of the atmospheric and ambient side of drum and bass, has applied his studio wizardry to capture the desolation and melancholy of a pop song and encapsulate it in an elegant and illustrious drum and bass masterpiece.
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”.
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
With a history that goes hand in glove with that of the development of drum & bass and jungle itself, Tony Bowes, aka Justice, has consistently spearheaded new musical forms. He is very much instrumental in the birth of drum & bass and is heralded as one of the true pioneers.
Raised in Luton, Justice began producing at the age of 17 with friend Conrad Shafie (aka Blame). The two met while studying media at college in Dunstable, and went into the studio in 1991 to try their hand at producing hip-hop tracks. Instead, they emerged with Death Row – one of the earliest examples of hardcore breakbeat – on Chill Records, a UK bass, bleeps and breakbeat label which was based in his home town of Luton.
While the rave scene progressed into a self-parodic fluff, Blame and Justice continued producing, both together and on their own. Pushed into new directions by the emergence of a mellower, atmospheric sound in the drum and bass spectrum, the duo formed Modern Urban Jazz Records. Continue reading