Album Review … Lethal – The sprawl LP

Anyone who knows anything about dark DnB will be aware of Lethal.

Recently, I interviewed Lethal and its clear the man has put in some serious work over the years. He was a major contributor to the infamous Offkey Recordings and has also provided us with a wide range of releases on some very respectable labels, enabling him to build an impressive back catalogue. In addition to this we have his seemingly unlimited output on his own Surround Sound Recordings making him truly a force to be reckoned with in DnB circles.

Its his latest addition to the catalogue that we’re here to talk about today. His very first LP … “The Sprawl”.

When it comes to LP’s, I’m somewhat oldskool with my opinion. I believe that an album should be a complete picture. Its very easy to dump a whole load of tracks in a folder and call it an album. Its a lot fucking harder to create a true journey for the listener, to paint a complete picture, to compose something that sounds whole as well as sounding great when broken down into fractions.

“The Sprawl” ticks all of these boxes and many more along the way.

We begin with the distant, haunting pads of the title track. This is a fantastic opener, we are greeted with a futuristic narrative which sets the scene and theme of the album nicely, filtered drums and synths build the suspense until we drop straight down into “The Sprawl”.

Solid drums and low down swelling subs provide the structure for fluttering atmospherics and distant percussive elements. This track seems to lunge at you in some ways, at times enabling the listener to drift off with the atmospherics only to be brought back down to earth with some clever drum edits alongside the ever present, beautifully understated synthesis.

After being eased into our surroundings, Lethal shifts up a gear and we move onto the next piece of the puzzle, “Icebreaker”. The track beings with a dominant pad laying the foundations for distant, glitch-hop-esq percussion and filtered vocals. We drop straight into a hip-hop influenced intro laced with the heavily processed vocals of Hostile Mc. The concept and delivery are flawless and the content fits in perfectly with the overall theme of the album.

The drop on this is absolutely immense. Weighty, faced paced drums provide the backbone for rock solid bass stabs that pounds the listener into submission in an instant. The synthesis here is top notch, merging perfectly with the bass stabs to devastating effect. We charge through mid range flutters and knocking percussion like stampeding Bison until we are greeted with that unmistakable hip-hop vibe from earlier. During the break down we are treated to more vocals and some truly inspiring drum programming which paves the way for the stampede to commence again, we twist and turn through the second drop while all the time being hammered by the bass stabs (in the best way possible). A wonderful early highlight and a glimpse of what Lethal is capable of when in charge of a sequencer.

Next up is “Blue nine”.  The intro pads and chimes blend perfectly to create an enveloping, futuristic, outta space kind of vibe. Filtered breaks and synth stabs build the suspense as we are hurtled towards the drop. This track is a straight up roller, some may say that this track doesn’t do a lot, the fact is, it doesn’t need to. Chunky bass and trademark knocking percussion, futuristic stabs, swelling top end synths and rolling drums, this track has it all, but the real beauty lies in the simplicity. A true slice of genius.

Moving on, we delve into bleepy, off beat territory with “Panther Modern”. This track is absolute filth. A grotesque, glitchy, snarling, nasty piece of work of the highest calibre.  Growling synths and lumpy drums lay the base coat for twisted, distorted mid range stabs, alongside more bleeps than an R2D2 convention, organic percussion compliments the deep sub and helps to maintain the groove as we roll through this monster of a track. Superb.

As we enter the sonic mastery of “Jacked In” we are welcomed with another spoken narrative, in keeping with the theme of the album, the in depth oration sits perfectly amongst the intro elements. We speed towards the drop at a breakneck pace, taking in sharp, top end synth stabs, distant sirens and a screw face endusing lead that is utterly infectious. This track  is a full on tech assault, classic Lethal at his very best. Smattering bongos and cheeky percussion fuel the momentum as tearing synthesis and solid beats drive us forward through the many layers of this amazing piece of music. A classic for any dance floor.

During the course of the album the listener will notice that a few of the tracks contain spoken narratives. These narratives all compliment the vibe of the individual tracks, but they also provide vital continuity and when you listen to the album as a whole piece, they also help to paint the complete picture. Its almost as if  the story unfolds a little more with each track and this next track is no exception.

“Flatline” begins with a cinematic backdrop, authentic breaks and oldskool stabs build the momentum until we are dropped into some serious sci fi tribal business. This offbeat roller gives us everything, big bottom end supports tribal drums, authentic percussion and distant whistling pads give way to the rave stabs as we are transported to some random jungle somewhere in space. Nasty reeces and some clever drum editing compliment this effort nicely. Another great highlight with a welcome oldskool twist.

Moving into the next track we maintain the authentic jungle vibe. Haunted pads give way to steel drum percussion and a groove that lures the listener to the dance floor. Lethal displays his versatility with this one, “Babylon Rocker” is nothing short of a full anthem. Twitchy, Bad Company-esq top end stabs lead us into an absolute monster of a track. Booming sub bass drives us forward and lays the brickwork for pounding drums programmed with jaw dropping precision. The groove on this is fantastic, it literally urges you to dance. And lets face it, thats why we’re all here. Top marks Lethal.

Next up is one of my own personal favourite’s on the album “Kuang (The Virus)”. This all out steppa is immense. Concrete drums and tinkling percussion give way to massive slabs of bass, subtle synthesis and prominent top end lead stabs. This is one of those tracks that would literally go down in any club, anywhere. So simple yet so diverse.

Delving slightly deeper into the abyss, we float down into the shadows once again and are greeted with “Straylight”. With this growling, lurking beast of a track, Lethal reminds us just how dark it can get sometimes. Distant wailing vocals feature heavily alongside beautiful chimes and far away atmospherics. Solid breaks and rib cracking bottom end push the bass cones to the very limit as we travel through the outer edges of cyberspace. Fucking stunning Lethal.

As we come to the end of our journey, we are treated to the last piece of the puzzle. “Wintermute” pulls the rug right out from under our feets. A final tech assault and what a parting gift. The gnarly lead morphs in and out of itself as the core elements drive us through the effort at 300mph. Oldskool stabs and clinical percussion lead us into a huge breakdown, big rock stadium drums push us forward into the second drop. Its relentless, militant and just what the doctor ordered. A perfect way to end this superb album.

Overall Rating from me is 9/10

For information regarding release dates etc please check …

http://surroundsoundrecordings.co.uk

Until next time … Peace.

@iBANE_DNB

 

Artist Interview – DJ-E

Over the last 20 years, one DJ has been consistently repping dark DnB to the fullest.

He has played at every decent event, on almost every pirate radio station, released on a wide variety of respectable labels and has collaborated with some of the best the scene has to offer.

One look at his AIM folder is enough to make most DJ’s green with envy, literally everyone sends this guy tunes, if its unreleased and worth playing its almost certain that it’ll make its way onto his playlist.

His skills as a DJ are unrivaled, he is just as comfortable on vinyl as he is with CD’s and his selection, structure, experience and intimate knowledge of the music all combine during a set to produce some truly amazing results.

In addition to all this, he is also one of the longest running pirate radio DJ’s in the country, he has been broadcasting filth over London’s airwaves on a weekly basis for well over a decade.

The fact is, this guy has continuously made massive contributions to dark dnb and has put in way more than he’s ever taken out, he’s also one of the nicest guys you’re ever likely to meet in DnB. So without further delay, it is my absolute honour to introduce the legendary … DJ-E.

 

GCB … Firstly, thanks a lot for taking the time to talk to me today fella, lets get straight to it.

For those who have been living under a rock for the last decade or so, can you give us a bit of info about yourself and tell us how you got started ?

DJ-E … It’s my pleasure, and thank you for asking me. Ok, well it started around 1989 when I got my first job in a record shop. The manager was a hip hop dj, and brought his turntables into the shop one day. He started to show me how to Dj and from then I bought my own set of decks and started having a mix in my bedroom.

I started off with hip hop, as that was what I was first introduced too and I loved the breaks  in it. My collection steadily increased, even the english hip hop was very good. Because I had access to music through the shop, I started to listen to the early commercial electro music such as Erasure, Pet Shop Boys, Depeche Mode etc, I even loved  a bit of Prince lol.

Also around this time, pirate radio started to impact the airwaves, and I started listening to pirates such as Pulse Fm, Defection, Weekend Rush and Kool. Listening to these pirate stations introduced me to acid house, old school,hardcore, jungle, drum and bass. After about 4 years of mixing in my bedroom , about 1993, and listening to music through the shop and radio, I decided to send a demo to a station called Raw FM,  I got  a set with a friend which was a very late on a Saturday evening/Sunday morning, but after a while I decided to leave and moved to Rinse Fm, but that was a short stay of 6 months, as East London was a long journey for me back then lol. I decided to go back to Raw which  by this time had renamed themselves Rude FM. From that moment on I was hooked.

Through Rude I got to know Dylan, Facs and Bkey. Dylan worked in a shop called Parliament Records, which was in Hertford. Every Friday I would finish work at 4pm and dash up to Hertford to collect the weekly promos that came in for my show on the next Saturday. Well these weekly visits and building up a friendly relationship with Dylan, I started getting into the darkerside of dnb and going to Blue Note on a Sunday with him as well as The End for Renegade Hardware and True Playaz and Ram. Going to these parties and hanging with Dylan introduced me to some of the scenes other artists and over the years get to know them and get even deeper into drum and bass.

Around 1998, Bkey invited me around to make a tune, it ended up being my first release with him on Dylan & Facs label XXX called Default. This gave me the taste for production and had to invest in my own studio. So later that year I bought myself a second hand studio. It consisted of an Akai 1000, Atari St and a mixing desk, which cost just under £1000 from a hardcore producer in High Wycombe lol. As soon as I got it home, I set it up and spent many days and nights learning the equipment inside and out.

About a year later, I had made a couple of tunes which I thought were ok, so I played them to Dylan, who by this time was working for Alpha Magic and was label manager for a few labels. He liked the tracks and asked me to go to the studios  so we can work on the tracks for release. N13, and Routeen were born and was released on Spektrum Audio, in 1999, and sold around 800 copies!

From then,  I had releases on Barcode with Donny, as well as Freak, Obscene, Revolution, Renegade Hardware, Barcode, M-Atome and Vampire to name but a few.

GCB … Throughout your career, you’ve always had a radio show. What is it about the radio that has kept you hooked for so long ?

DJ-E … Yep, 20 years of pirate radio, wow! If it wasn’t for pirate radio I dont think I will be where I am today. Back in the day I use to love the rush of playing music over the airwaves bringing good music to the masses, and the fact it was illegal. It’s what got me into this music in the first place and has always been my first love within the scene.

Also Im so used to doing radio now, I think I would be lost if I stopped and would leave a massive hole in my life! I still enjoy the buzz and playing/introducing new music to the listeners. Ive also met some wonderful and amazing people through radio, and music.

GCB … I’ve mentioned earlier that you’re very comfortable on both vinyl and CD format. Which you prefer and why ?

DJ-E … Hmmmm thats a good question. If you had asked me about a decade ago it would be vinyl, hands down. But nowadays it has to be CD. Theres two basic reasons really. Firstly tunes are so much readily available nowadays as mp3, wav format, as artists are always sending me music over aim and also quicker to play as if I had to wait till vinyl release ,I might be waiting a while!!! And secondly is for djing, cdj’s are tighter than turntables, in my opinion, and for me djing has always been the tighest of mixes and holding the mix for as long as needed, which cdj’s do perfectly. I’ve never really understood mixing from a computer tbh, but I guess i’m old fashioned.

GCB … Whats the best event you’ve played at in the UK and can you tell us why this event stands out for you personally ?

DJ-E … The best event Ive ever played in the UK?  Hmmm, It would have to be Therapy Sessions, starting from the early days at Herbal to the Bristol events at the Black Swan as well as the London events. It just comes down to enoying the music I play to the ravers and seeing them go absolutley mad which always brings a smile to my face.

GCB … A lot of people may not know this, but you played a massive part in bringing Therapy Sessions back to the UK. In fact, you pretty much led the team on the ground for the first couple of events, sorting the venue, organizing and distributing flyers, promoting etc. The first couple of events were huge, complete roadblocks, then shortly after that your involvement ceased and the events seemed to dwindle in numbers.

I set up GCB to ask the difficult questions, so, with that in mind. Can you tell us a bit about what was happening at the time and why your involvement stopped so suddenly ?

DJ-E … Since the last weekly Therapy Sessions in 2009, almost everytime I was out clubbing in London someone would appraoch me and ask when was Therapy coming back, I would answer I dont know. Deep down I was missing Therapy too and knew it was what London was missing. One night in 2010, I was at Intent to Supply at a club called Rhythm Factory. When I saw this venue I thought it would be perfect to bring back Therapy. Of course I just couldnt go ahead and do it as I needed Dylan and Robyns permission.

Well to cut a long story short, I organised a small team and we got Therapy Sessions the Resurrection organised, which was an absolute success, the night was packed and everyone came out of there looking forward to the next one. So along came the October event and again that was another succesful night. However things changed after that, Robyn felt that my personal issues were interferring with the running of Therapy, which in her own words, she could not afford to do, and wanted to keep business and friendship seperate from each other.

Tbh it just felt as if I was just pushed out, with no reasonable explanation. What could I do about it? Nothing. I just bit my tongue and moved on.  Me and Robyn are still good friends to this day, Im not one to hold grudges and Im sooo happy to see Therapy still going strong to do this day.

GCB … Name your top 3 DnB tracks of all time and tell us why you rate them ?

DJ-E … I think I need a  top 100 tbh, otherwise we’ll be here all day lol. The best way to answer this is by choosing 3 tunes in my record bag/cd wallet which I’ve ben playing the longest.

1. Johnny L – Wish U had Something XL Records … A track well before its time, rolling basslines, sick beats and a dirty stinking roller, just the way I like em!
2. Optical & Rhyne Tyme – We Enter – No U Turn … This tracks hurts me everytime, Well made, sick vocal, and again just rolls, such a dj friendly tune as well, can drop with almost verything.
3. Boom Boom Satellites – Drive Me Crazy – R&S Records … Again another track before its time, and another Optical track (I love an Ed Rush and Optical tune lol) Again another sick roller, and one that gives me goosebumps to this very day.

GCB … You’ve released on a wide variety of labels in your time, which label has treated you the best, business wise ?

DJ-E …  It has to Spektrum Audio, which was part of Alpha Magic. They are the only label that have given me a contract, advance, and payment for the release.

GCB … You’re well known and widely respected for your varied selection and technical ability behind the decks. Personally, I’ve never seen or heard you play a bad set, although I’m sure there must’ve been times over the years when things have gone wrong. Can you give us an example of when things have gone tits up behind the decks and tell us how you managed to rescue it ?

DJ-E … I cant actually think of any gigs where the set has gone tits up. Ive had a few gigs where I never even got to play, they are annoying, but from the top of my head it’s just been things like no monitor speakers, or the bass cutting out on the monitor, or the turnable not being Technics, or cdj’s not being Pioneer! I suppose the worse would be the studios ive played in when doing radio, some of the equipment and studios we’ve been in havent always been the best and having the levels very low, makes things very hard! But the show must go on.

GCB … Who is your favourite DnB MC and can you tell us a bit about why they stand out for you personally ?

DJ-E … It has to be 2 Shy. I’ve known him since he started on Rude. We did a few sets together on Rude and he just knew how to smash it.The guy just knows how to be the perfect mc, will draw lyrics, but not too much, knows how to hype the crowd and is an all round good guy. I’ve kept in touch with him over the years and its soooo good to see him at the top of his game to this very day.

GCB … What are your thoughts on Crossbreed ?

DJ-E … Pants. The producers are awesome, its just the music can get a bit too much!

GCB … You previously had a long standing residency on RudeFM, a couple of years ago you switched over to KoolFM. Can you tell us the reasons behind the move and tell us which station you prefer working with ?

DJ-E … The reason I moved from Rude to Kool was that I needed a change. I had been doing Rude for 17 years and felt that it was time to move on. I spoke to DJ Chef, and he said he was looking for dj’s who played my style on Kool. It made perfect sense, to play the beats I love on the worlds largest and number one  dnb radio station. Can’t believe its almost 3 years already. Rude was such a large part of my life and I will never forget those days.

Rude is like a family station, from the dj’s to the listeners, however Kool is definitely more professional, and has a wider range for opportunities. Since being on Kool, the highlight has to be playing at The Royal Academy of Arts in London, I dont think you’ll ever see Rude do that!

GCB … You have a lot of contacts in DnB and its clear from your previous involvement in Therapy Sessions that you know how to fill a venue. Have you ever thought about starting your own event/label and if so, what venue would you go for and what would be your ideal line up for your first event ?

DJ-E … In the back of my mind I have always wanted to start an event or label, but I always doubt myself, and theres always the problem of finances, and family, having 3 kids makes things a little trcickier lol.

If I was to start an event? Hmmm, I would like to start one at a small to medium size club, maybe in North London, but trying to find these clubs nowadays is hard as they are vanishing quickly, which is a shame.  As for the line up, Technical Itch, Bkey, The Sect, Audio, 2 Shy, definitely, and maybe me!

GCB … Name your top 3 tracks that you have produced and give us a bit of info as to why these tracks are your favourites ?

DJ-E … Have I made that many? Lol.

1. N13/Routeen – DJ E – Spektrum Audio … My one and only solo release, and the name N13 is the postcode I live in.
2. Amputation VIP – Donny & DJ E – Barcode … This was my first release since the above, only took 8 years lol, but working with Donny was a lot of fun
3. Archive – Bkey & DJ E … Our first collab since 1998, and this was the time I moved to Cubase and Reason, which took me on a new journey into production.

GCB … Name 3 things you hate about DnB and tell us a bit about why these issues concern you personally ?

DJ-E … Can only go by my own experiences

1. Labels promising to release tracks, and never keeping to their promises.
2. Politics, thats why I dont get involved!
3. People who have been in the scene for 2 mins and think they know everything about dnb. I just let them get on with it lol.

GCB … Do you think you have reached your full potential as an artist ?

DJ-E … Nope, I’m not releasing enough music or getting enough gigs, and nowadays these two go hand in hand. Ive recently moved DAW’s to Presonus Studio one, so thats a step backwards, but until I’ve sussed that out and releasing again I wont be happy. However as a pirate radio dj, yes fully lol.

GCB … Finally, what are your plans for 2014 and where do you see yourself in 2015 ?

DJ-E … My main focus at the moment is definitely trying to release more tracks on different labels, in fact I do have 2 tracks forthcoming, so Im very excited about those. I might start a label next year, but Im still in two minds about that, but who knows what the future holds. I’ve always been one to take each day as it comes, and do my thing, I guess that why I still love dnb to this day.

GCB … Thanks for taking the time to talk to me today fella, I wish you all the best for the future.

 

Until next time … Peace.

iBANE_DNB

 

 

Artist Interview – Source Direct

If you know your history, you will know that DnB has been going strong now for around 20 years.

In the early years, the tools and technology that producers and Dj’s take for granted today, such as fast computers, VST’s, the internet, CDJ’s, affordable/cracked software etc we’re simply not available.

If you wanted to make a track 20 years ago you couldn’t just download a cracked copy of Cubase and watch a tutorial on Youtube, you actually had to learn how to use proper studio hardware. You had to learn fucking everything, most of the time through hours and hours of painstaking “trial and error” methods.

In most cases, even the fastest PC’s we’re only able to sequence/playback for short periods, project recalls we’re still a new concept, hard drives we’re only usually big enough for the operating system so everything had to be stored and saved on floppy disc or DAT.

Then there was the sampling, these days you can raid the internet and fill your hard drive with anything you need in a day, back then, it could take a day just to set up a decent signal path so you we’re in a position to record 1 drum break.

The truth is, producing under those circumstances took a level of commitment, skill and dedication that only a handful of today’s producers will fully understand.

The artist I’m interviewing today didn’t just produce under those circumstances, he built his career and helped lay the foundations of the scene under those circumstances. Ask any DnB producer about this guy and they will tell you straight, he’s a certified legend, a pioneer, his music is widely considered to be an integral part of the very fabric of DnB and his output has inspired many of today’s great producers.

After a 10 year hiatus, he’s back on the scene, armed to the teeth with a load of new material and some big plans for the future. So, without further ado, ladies and gentlemen please be upstanding for one of the true fathers of DnB … Source Direct.

 

GCB … Firstly, welcome back fella. Secondly, thank you for taking the time to chat to me today. As you can imagine, I have a ton of shit to ask you in this interview, so lets get straight to it.

I’ll start with a basic question, where have you been for the last 10 years and what have you been doing during that time ?

SD … I fell in love, as you do, we ran a pub together then bought a house together and then three months before getting married on the island of Capri had to be honest with myself that she wasn’t the girl for me and that I had unfinished business to attend to within the creative music world. I worked for Sky for a while then for an AV Company called Blitz getting involved with the production of London Fashion Week and the launch of Grand Theft Auto’s “Vice City”.

Being told my ex had cancer came as a huge shock to the both of us and as a result of visiting various treatment center’s, clinics and enduring numerous stays in hospital fighting the big C, I believe that even though we got the best result possible the aftermath of going through 18 months of hell it was sadly the beginning of the end for us as a couple. It was at this point I realised I had unfinished business to attend to with lots of musical ideas buzzing around in my head.

After that I needed some time on my own to re group with the aim of “getting the band back together” so to speak and return to my first true love, Music. It was nice living solely as a music fan once again enjoying various musical styles and going out to many live performances and club nights.

GCB … What made you decide to come back and why now ?

SD … I was inspired and encouraged to get back into music by my good friend Al Green aka Boddika. We met up at The Zoo (his studio) and after a particularly fun evening listening to beats and reliving some exceptionally fun times it re-sparked my fire, helped me realize just what I had done years ago and the potential of what I could do again now.

Music is what I do best and need it in my life every day. I totally love sharing my excitement and joy of dance music with like-minded music lovers and being able to get back out and about DJ’ing & meeting S.D. fans has also been a strong source of inspiration and fulfilment for me. There’s a joint project in motion for the future between S.D. and Nonplus but that’s all the information I can give you on this right now…Its “top secret” but sounding great and the finished article will come together all in good time.

GCB … What are your thoughts on the current state of DnB ?

SD … Its great to see Metalheadz supporting the new generation of quality producers whilst retaining its original Modus Operandi of promoting & supporting cutting edge original music. Its easier and cheaper to start making music these days which is good for music but in my opinion it makes it harder to break through and earn a living as an independent artist until you have made a name for yourself to take on the road.

I also still believe that a lot of music created by the “old guard” of artist/DJ/producers is as fresh now as it was back in the 90’s & 00’s. Select tracks from back in the day mix well with tracks created by today’s generation of original DnB/Jungle artists/producers. As far as I’m concerned its still all about the rhythm, the funk, the rolling basslines and DJ/dancefloor friendly arrangements….its always gonna be DnB/Jungle in my eyes & ears.

GCB … Can you name 3 DnB producers who inspire you and tell us a bit about why you rate them ?

SD … Goldie, Photek, Boddika (Instra-Mental) & Randall.
Its impossible for me to simply name three artists who inspire me but I feel those I have named are constantly looking to push the boundaries of DnB/Jungle (or techno in Boddika’s case!) and re-invent themselves as time moves forward. Always trying to craft the perfect break or sound. DJ’ing with Randall over the past year and getting a call to arms from Goldie for the 20th Metalheadz bash at Fire, London really fired me up (no pun intended!). That level of support and encouragement confirmed I was doing the right thing, a home coming. Randall has always been an inspirational DJ for me. His tune selection and sets of DnB have been legendary over the years and the fact he is still where he is is testament to that. Not to mention there all a good bunch to have a laugh with when your out and about!

GCB … You’re working solo now under the SD name, but obviously that hasn’t always been the case. I set up #GCB to ask the difficult questions, so with that in mind. What happened with the original SD partnership, why did you guys part ways and will we ever see you work together again in the future ?

SD … They say you should never say never but I will never work with him again. There’s no point as his contribution to the music was negligible and simply more of a mate (from school days) who ended up helping to buy a few items for the studio with his family support so it was more of a extra pair of hands to help do the mundane things.

All music creation, programming, mixing, production, engineering and mastering has solely been myself from day one. He used to make a good cup of tea to be fair… lol! S.D. has always been my baby and always will be, it cost me a lot emotionally and financially to keep it as well as blood sweat and tears but S.D. and its trademark are by law & contractually owned and vested solely by me. If you honestly had created and genuinely contributed to the S.D. body of work would you really happily agree to sign over all ownership, publishing, copyright etc. for a little pay-off cash? I know I certainly wouldn’t! S.D. is mine and tattooed on the inside of my head for life…lol!

From a very young age I was always into music, my old man took me down to London’s Panic Studios at the age of 13/14 with all the cash I had managed to get hold of for a 10 hour night session to attempt to create my first ever couple of tracks. Around the same time I was organising small local raves with my mate Mike. We had invested in a number of lights, a smoke machine, strobes and would hire in the sound rig and pyrotechnics to help make the night go off with a bang…literally! We wanted to get someone else to spin a few tunes together with myself each night and that’s where Phil seemed to join the crew.

I knew of him as we went to the same school and began to buy tunes together, that’s how we become friends. Those nights are infamous amongst my age group of St. Albaner’s. I left school asap as there was nothing there for me and I went to City of Westminster College on a Sound Engineer Course as I was desperate to learn more about music technology. I also worked as a part-time lighting rigger for Metropolites and learned the production techniques from ¼ scale concept design up to full scale rehearsal’s and the final live production at Wembley Arena. The company also used to supply lighting for the BBC studios down the road in Elstree so visiting the set of Eastenders, Top of The Pops and Grange Hill was a regular fun and interesting time. I have a great memory of Mike Read (Frank Butcher) walking into the canteen (mocked up as a hospital entrance for use on various shows!) and simply owning the room… cracking jokes with everyone around him and messing with the canteen staff, a great bloke with a wicked sense of humour!

Then through an old school classmate, Georgina Parkes, the sister of Rupert (Photek) Parkes, we met up and a friendship emerged. As either of us had much equipment we used to put our kit together and make tunes over long sleepless periods. The first tunes to be properly finished where put out on Certificate 18 under the alias Sounds Of Life. It was all good fun and we could never have realised where it would take us.

Phil used to come round to my house where all the music got made in my bedroom which was visited weekly by many DJs like LTJ Bukem, Peshay etc. all looking to get their hands on new DAT’s to cut Dub’s for the weekend (that whole social part of the scene down at Music House has gone). One day I answered the phone and John Peel was at the other end requesting to do a ‘Peel Session’. An interview was done which led to us doing two Sounds Of Life ‘Peel Sessions’.
Then it all became a serious business when the major players got involved and by this time Phil was up his own arse thinking he’d made the “big time” (have a laugh!) when in fact the “door of opportunity” had only just been knocked on and the hard work was just about to begin as far as I was concerned. He didn’t put in the studio time to assist in the process of making the tracks and it was a constant battle with him moaning about the work schedule. Virgin/Astralwerks organised a US Tour with a couple of dozen bookings & “press” interviews over 3 weeks and Phil pulled out just 48hrs before … didn’t want to go or be part of SD any more, he was off to do his own thing…

I don’t think you could even begin to imagine how I felt, this was my baby and I had built it up with him only to be let down by him. I did the gigs alone and my manager Graham Bell came along with me. It all went really well but on my return I had to go through loads of shit dealing with the split and loosing the Virgin deal because of this. It was a nightmare and it went on for months and months taking its toll on me. This is why I will never work with him again. If he had come along for the ride who knows where it would have taken us but its water under the bridge now, his input has never been missed and many S.D. tracks where created since he was bought out. Only recently have I been playing them out and getting a good reaction to music I made 10 years ago. They will get released all in good time together with the new projects.

GCB … In the late 90’s, you signed a deal with Virgin Records. Can you tell us a bit about how that came about, what it was like signing to a major label and financially speaking, was it worth it ?

SD … The Majors don’t want to miss out on any new music that has the potential to blow up and make money. I only wish there was more enforsis on longevity as opposed to “over night” success. It was an opportunity to work together & learn from eachother at the same time as pushing the UK DnB sound worldwide and cementing the foundations of the S.D. name & music through a long term working relationship. It did open doors of opportunity but sadly it also opened my eyes to how majors can be simply driven by the bottom line and not by cutting edge original music.

I was always hoping that Virgin kept the original “Branson” work ethic of creating something new in the world but unfortunately it wasn’t to be. It enabled big investment in studio equipment and it was fun owning a new M3 at 20 although looking back with hinsight I wish I had invested in a couple of apartments! There were 2 or 3 looking to sign S.D. at the time but we went with Virgin to form a strong alliance with our friend Photek. As I said this deal had to end when Phil broke contract by leaving but my publishing deal with Universal still runs.

GCB … I don’t usually ask production questions, but in this case I feel its relevant. What are you using to produce these days and have your methods changed to embrace the new technology ?

SD … I am forever learning and discovering more ways of doing things and I have loads of old school skills built up over years to call upon. I’m excited by new technology and what it can bring to music creation but I still value traditional methods and the sound of original pre-midi equipment, 60/70s synth’s and outboard processing and broadcast mixers etc. The new bit of kit I’m looking forward to arrive in a few weeks time is one of only twenty hand built compressors to celebrate the engineer & company’s 20th anniversary. I can’t wait to get my hands on it!

GCB … Literally everyone I’ve spoken to is really excited to hear you have new tracks on the boil. People rate your previous work very highly. Are you feeling the pressure this time round, production wise ?

SD … In a word no, I’m not under contract to produce to time scales so no pressure or stress to stifle creativity. I make music primarily for my enjoyment and to make my hair stand up on end, I know if I feel like this others will too. I’m very thankful to all my fans, some from back in the day and others that are newly discovering my music, there support is truly inspiring and I hope to take them along with me on the next stage of the journey. I’ve been rebuilding and investing in new equipment for my Top Station studio which continues to grow and give me great enjoyment.

GCB … Name your top 3 SD tracks and give us a bit of info on why these tracks stand out for you personally ?

SD …

The Crane – Source Direct Recordings
This is one of the first tracks that really crafted the true SD epic & visual metaphorical sound in its own right whilst pushing the creative boundaries of the UK DnB/Jungle/breakbeat scene. One strong personal memory of mine was being out with Kemistry, Storm & Nicky at the Kentish Town Forum for one of Goldie’s first big-stage live shows of Timeless.

After he’d performed his live set Doc Scott opened up the nights DJ line up and started his set with The Crane. I was on the side of the dancefloor and witnessed the place erupt! The track got three rewinds and as I received a sharp pinch from a smiling Kemistry, Storm and co I felt the hairs on the back of my neck standing up (divine intervention some might say!) which totally blew my mind and led to me leaving shortly after to continue working on a half finished track back at Top Station.

Call & Response – Science/Virgin Records
The strongest of the three Science/Virgin singles for me. It has a strong SD identity within its sound for the time era and is simple in its arrangement but has its own meticulous complex breakbeat patterns entwined with powerful horn stabs and a (very time consuming to create just right!) powerful mesmerising filtering acid hook loop. It has a quicker tempo and is longer in time but draws upon a similar pool of sounds and influence from US hip-hop. The main solid breakbeat rhythm, rolling bassline and simply structured arrangement sound great with an MC spitting lyrics over the bare drum & bass sections.

When a FAX slowly printed off at Top Station headed with New Line Cinema, New York requesting the possible inclusion of Call & Response both on and in the film Blade’s soundtrack preceded by an international ad campaign for the film using the track it was simply amazing to think a track of mine could now be enshrined forever on celluloid for the world to hear…a dream could possibly come true. I’ve had other tracks used in game, TV & short film OST’s but nothing could ever create that astonishment of receiving “that” FAX!

“Yo Bitch…” / Pimp Star – Demonic
Al s enthusiasm and support was like a breath of fresh air after all the bullshit I’d gone through winding up the partnership. The track was made in a short space of time with a number of us in the studio jumping around as if it had just been dropped in a club. Phat gut wrenching sub’s rolling under a thundering Amen with “calling of the wild” type bongos together with its hip-hop stripped down DnB sound made this track the dancefloor smash that it is. Throwing in the random scratching of the vocal “Yo Bitch!” gave it the recognisable big dancefloor drop and provided many a DJ with the perfect rewind moment.

Good fun memories of making these two tracks and even more fun to listen & dance to. Pimp Star follows the same style but with more of a rolling rhythmic sound. It pushes further into the old music/film soundtrack influences especially with its break down to half tempo and street corner conversation visual ambience. You can really hear the appreciation of the 70’s sound of funk and Blaxploitation movie soundtracks within this track.

GCB … Since you’ve been back, you must have been inundated with offers from labels. With that in mind, can you tell us which labels you’re planning on releasing with in the future and tell us about why you’ve chosen to work with them ?

SD … I hope to continue working with the Metalheadz label, spending time with Goldie is a true inspiration and has always challenged my creativity with his music (thanks for the dinner a few weeks ago Mr G and family… it was great to catch up!).The NonPlus label and Boddika, we are good friends and on the same wavelength. We are looking at various collaborations and remixes but also looking to experiment with new sounds & styles to see what comes out, watch this space… I also want to put stuff out on my own Source Direct Recordings label with a new team of people around me and finally a S.D. website due to go live in the not too distant future.

GCB … A lot can change in 10 years. The business side of DnB is a very different place to what it was a decade ago. Do you think things have changed for the better or worse ?

SD … Tell me about it!!! Its more about performing/DJ’ing, connecting with the crowd which I love to do. That immediate feedback and electricity between you and the crowd is so inspiring and at times overwhelming, I simply love it.

Years ago I was mainly studio based and relied heavily on DJs to play & promote my music so I never got that interaction with the fans apart from on the tours abroad. Even though I had started out as a bedroom DJ I wanted to indulge myself in the creative process to make the tunes the way I would of liked them from a DJ’s point of view (ie. Giving the DJ a nice intro to mix and using the 8/16/32 bar arrangement to make drum fills and parts that a DJ would enjoy cutting in and out of the mix). The positive points of this was that I would regularly be out and about raving and flinging myself around to my own tracks and taking note of the overall mix, track arrangements and the straight up enjoyment of hearing your own music on a fat sound system dancing around with hundreds of other people.

Pushing myself out into the DJ circuit over the past year or so has been a building process as I respect the picking order of your peers and those who’ve gone before you and paved the way for the scene as a whole. The likes of Grooverider, Fabio, Doc Scott, Kemistry & Storm (RIP Kemi!), LTJ Bukem, Randall, Peshay etc where all playing tracks I had either made or was inspired by during the early years of DnB/Jungle.

Weekly nights attending Speed at the Mars Bar was going for a couple of years before Metalheadz began their infamous weekly nights at The Bluenote. AWOL at Paradise is another night where Randall would play some mighty sets! These would feed my creativity and aspiration to be on the DJ circuit myself and every time I finish a set it leaves me wanting to give more.

The overall change in society (not just how we purchase or listen to music) brings about its own pros and cons. With a 24/7 border-less Internet shop you don’t have to press up 1000s of records and invest and risk loads of money before releasing tracks to your fans. Buying the physical record to own, touch, listen to and look at with its artwork and all that you get from collecting and supporting artists you admire is something I don’t think will ever totally disappear but its more for the dedicated record collecting fan these days. I want to manufacture vinyl & CD’s for those of us that like to have the physical form but also embrace the internet and all that it can do for you as an artist.

GCB … How would you describe your new sound ?

SD … The new sound – An ever evolving adventurous matured Source Direct sound. I am always told my tracks have “something” which identifies it as a Source Direct sound and this is what will continue whatever I put out, its my sound. I try to create and seek out new sounds and production techniques within the UK cutting edge dance music.

The S.D. sound design, textures and soundscapes are ideal for use within the small & big screen productions, gaming soundtracks as well as advertising campaigns. I’m always trying to create perfection within the creative process and its that which keeps me pushing & searching for new styles, techniques and thrilling arrangements while at the same time retaining the foundations for the type of music I happen to be making at the time.

GCB … In addition to you being back in the studio, you’ve also made a welcome return to the DJ circuit recently. What has been your favourite event that you’ve performed at since you’ve been back at it ?

SD … Metalheadz 20th Birthday Party at Fire, London. Even though I feel my set wasn’t 100% on point due to the excitement and nerves of such an epic event! DBS at club Unit, Tokyo (Japan) with Lee Bannon of Ninja Tunes and DJ Miyu. All the Sub Dub nights I play at are great events especially the NYE 2013-14 in Leeds which had a great crowd who were all loving the DnB both old & new. The Blackest Ever Black nights at Corsica Studios and Rupture again at Corsica Studios, London. To be honest though as long as theres a good sound system and a crowd up for a fun night of raving who are into the beats I play … I’m a happy man!

GCB … Name 3 DnB producers you would like to collab with in the future and tell us why ?

SD …

Digital – we go back a long way and also share the same birthday so its a plan we’ve had in mind for years to get some beats made together. Its only a matter of logistics and both having the time free to spend in the studio.

Photek – long time no see as he’s been living in the States but we made a lot of beats together years ago at the start of my music making life so it would be interesting to hear what music we could create together now.

Goldie – he is the Godfather of fusing technology and original music in my eyes, baring in mind what little capabilities where available to you with the equipment years ago. Since his first release he’s inspired me again and again… its an honour to be working & DJ’ing with him again within the Metalheadz stable.

GCB … How does it actually feel to be back after all this time ?

SD … Brilliant – I feel at home again, its where I belong, excited about it all, putting together new studio as machines are still very much my best friends apart from my new Boarder Terrier puppy, Poppy. I’ve received overwhelming support and kind words from all my piers and those around me who know what I’ve been through and am still battling.

I very much love travelling to DJ/perform in different countries. Meeting new people and submersing myself in other cultures has always been something I really enjoy doing and feel privileged to be in the position to do so. Getting inspiration from the new generation of DnB producers, supporters & industry personnel together with their kind words is something I simply cant live without!

GCB … The overall sound and dynamic range of DnB has changed a lot in the last decade. Do you think your new material has evolved in line with these changes ?

SD … The new S.D. material & production will do the talking… new technology has been embraced but now I’m older and wiser to pick and choose the sounds and styles of production to create something fresh. I’ll always be chasing perfection whilst creating something new and keeping the S.D. flavour. Recent new tracks have been received well, smashed it, and will be released in various forms in the future.

GCB … Tell us 3 things you’ll be doing differently this time round ?

SD … No more partnerships – I will always own and perform as S.D. alone. I will take the S.D. sound on the road more with a possible live set/show in mind for the future. And one thing that will definitely not be happening is handing over the money side of the business to a slippery accountant, you can’t rely on anyone but family to work in your best interest.

GCB … Over the years, your music has been featured in films, on TV and even used in computer games. Can you tell us a bit about your experiences with these parts of the industry ?

SD … The inclusion of Call & Response on the first Blade film could and should have been made more of. If I had had my manager on board at a slightly earlier time it would have been handled better and opened more doors for future soundtrack/sync work. At that time when I was around 20years old so much started to happen and I had to rely on other people to sort certain things out, if only I had known then what I know now, that’s why its so important to have the right team of people around you.

GCB … Name your top 3 DnB tracks of all time and tell us why you rate them ?

SD …

Terminator – Goldie.

This was ground breaking DnB/dance music using new technology to great effect, creating new sounds and rhythms unachievable beforehand along with using the famous Terminator film vocal sample to create a strong visual essence to the track. This was a track I used to mix everyday many years ago and was moving towards a sound I had always had in my mind. A truly inspiring track and well ahead of its time…still sounds fresh today!

UFO – Photek.

Strong use of technology in the track production with intricate programming and patterns. A great overall mix to the sound and another strong concept driven track…breaking down barriers with this one!

Here Come The Drums – Doc Scott.

The perfect answer to US Hip-Hop with classic breaks & samples arranged in the true DnB template. Great to mix as a DJ, a track to loose yourself on the dancefloor and one hell of a track to listen to when your driving…pure drum n bass! ( I’ve been a Public Enemy fan from the day they dropped their first tracks so when Scotty made this it was naturally a gem in my record box).

GCB … Finally, what are your plans for 2014 and where do you see yourself in 2015 ?

SD … Rebuild, relaunch and continue to pursue the S.D. musical adventure as I’m ready to go where ever it takes me. I hope to continue to DJ as much as possible around the UK and worldwide including plans for a US tour in 2015.

Rekindle old musical friendships whilst making new ones and continue to work on some great sounding projects with Boddika and Nonplus. Most importantly is to spend time in my Top Station studio with the exciting new tools I’ve been collecting over the past 18 months or so to create new musical magic.

Also starting work with a new member of the team “Dan Da Webman” to work on a website and launch it together with the S.D. label and various forms of new distribution. Loads more of the same and mark 20 years of Source Direct in some fun way provided I keep healthy and inspired. Keep upto date with bookings and the behind the scenes happenings by following me on twitter @Source_Direct. For Source Direct booking information please contact Bassic on +44 (0) 7 939 273 830.

GCB … Thanks again for taking the time to chat to me today fella. Personally, I’m chuffed to bits that you’re back in business and I’m looking forward to hearing the new material soon. I wish you all the best for the future 😉

Until next time … Peace.

@iBANE_DNB

Artist Interview – Raiden

I’m not gonna lie, I’m on a next hype about this interview.

When this guy created his label, I personally thought that it was the best thing to happen to DnB … Pretty much ever, if I’m honest.

Then, when the label ceased trading and he went off to make techno, I personally wanted to shout at him a little bit. I wanted to grab him by both shoulders shake him a bit, then try to make him see reason. I wanted to make him to realize that he was making a mistake.

However, following your dreams is never a mistake. Especially if it makes you happy. That said, over the last decade this guy has helped shape the dark side of DnB. He has dropped banger after banger on a wide variety of very respectable labels and then went onto pretty much redefine dark DnB when he started his own label.

Then after all that, he quit DnB, shut the label down and went off to follow his dream and became a well respected techno producer. DnB wise, apart from a couple of collabs and the odd gig here and there, no one has heard from him in years.

Now he’s back, he’s just dropped an absolute killer EP on brand new label Tech:nology Recordings and has plenty in reserve for new projects. So, without further ado, it give me great pleasure to introduce the man, the myth and the absolute legend that is … Raiden.

 

GCB … Firstly, thanks for taking the time to chat to me today. Secondly, welcome back fella. Pleasantries well and truly dealt with, lets get straight into it.

You’ve just dropped your “Experiments In White Noise” EP on the brand spanking new “Tech:nology Recordings”. I for one am chuffed to bits to see you releasing DnB again. My first question is … Are you back for good (DnB wise) or are you just visiting ?

RAIDEN … I tend to work towards things where there is an incentive. I don’t have to many of those in D&B at the moment and I’m not sure where I fit into the current scene. KSP has been keeping me very busy as of late, so for that reason its my current focus. I’ve always been extremely busy with Djing as Raiden and love every second of it.

I dont think its possible ‘leave’ a particular genre of music as such, not like a relationship or a job, it’s just musical demographics. I want to experience lots of different music as possible these days, sticking to one thing is like eating the same meal every night.

GCB … Some producers see it as a big risk to release on a brand new label, especially being the very first artist to release on said label. With that in mind, can you tell us a bit about why you decided to release the EP with Tech:nology Recordings ?

RAIDEN … Oscar from Tech:nology told me he was planning to launch a label and I really wanted to contribute as I always enjoyed working with the Tech:nology  fellas. I set about making some tracks that captured the feel of the Tech:nology events and I really wanted their label to start with a bang so I put my all into it. One thing I’ve learnt over the years is the importance of working with good people. 

GCB … With regards to your own label. Whats happening with Offkey and do you have any future plans for the imprint ?

RAIDEN … I don’t think it would be right to relaunch it, its very much tied to a particular era, time and space, it would tarnish its achievements. It’s more special that way. It would feel cheap to relaunch it. Comebacks never seem to live up to expectations. 

GCB … Name your top 3 DnB tracks that you have produced and tell us why these particular tracks stand out for you personally ?

RAIDEN … 

Bogota

I visited south america on a number of occasions and I’m blown away by the traditional rhythms and rich musical culture, especially as dance music is also rhythm orientated. I bought a fair bit of percussion when I was over there and spent time learning to play it. Bogota for me has the most intricate drum work I’ve ever played and recorded. I’m  very proud of that track and it’s aged very well. A real labour of love.

Roentgen

I made this track in the depths of an Estonian winter while it was dark in subzero temperatures,I felt I captured the way it made me feel perfectly in this track, cold ethereal and icey. It was the closest I got to making the sound that’s in my head and heart.

La Luna

This was the first time I discovered that you can make sounds using feedback loops with a mixer. Out of any of my dance floor tracks this one sounds the most like what I hear in my head, hence I’ve played it in every set since 2008.

GCB … Name 3 DnB producers you would like to collab with in the future and tell us why you rate them ?

RAIDEN … Now a days I see little point in collabing for the sake of it, especially when the producers sound quite similar. Cross genre collabs are far more interesting. Recently I have been collaborating, with Addison Groove, Manni Dee, Wedge and soon Appleblim. 

In terms of who I rate I’d say Digital, as he’s just an absolute don and made many of my favourite tunes. Universal Project, they are just so pure, raw and uncompromising, like the Detroit Techno of d&b. I really rate Alix Perez, even if what he does isnt exactly my thing I admire how he’s always thinking outside the box and never stuck in his ways. 

GCB … A lot of people in DnB (myself included) we’re a tad peeved when Offkey went off the radar. I’m sure you had good reasons for doing what you did, can you tell us a bit about what was happening back then and let us know how you felt at the time ?

 RAIDEN … The Offkey sound become horribly gentrified. The style that it established become a regime and I started to feel trapped, so the best thing to do is just walk away. I’d pretty much taken that sound as far as I could. 

Offkey happened out of the desire to create something new and that took a huge risk.  I couldn’t think of anything more boring than to keep doing the same thing for the sake of it just because its expected of you. 

Some people said I was crazy to walk away from something that was doing so well, but that music came from what was influencing me at the time, and what influences you is always in flux. 

I could of easily kept doing it and made a lot of money but it wouldn’t be honest. I always want to be pure in what I do. 

I do have my regrets with letting slip Voodoo though. I’m still very much into that percussive vibe but it wasn’t something for a D&B Audience on the whole.

GCB … What are your thoughts on Crossbreed ?

RAIDEN … I don’t pay much attention to it as its just not something I am interested in, and rarely come into contact with it.

My main music interests generally aren’t in electronic music. I’m a biggest Queen and Who fan. Recently I’ve been getting really into 60’s US garage music such as the Easybeats for example. I’m a avid record collector music from all eras and styles.

GCB … At what point during your DnB career did you think “yes I’ve cracked it” and can you tell us a bit about how you felt at the time ?

RAIDEN … I’ve honestly never felt that, your ideas, abilities and tastes are always evolving. Music has endless possibilities. There’s always something new to learn or story to tell. If anything I feel like I’ve only just started.

GCB … Name you top 3 DnB tracks of all time and give us some info as to why these tracks are your favourites ?

RAIDEN … 

Digital – Scam

I love Digital’s music and this combines to of my favourite things, hoovers and Knocks. His arrangements remind me of Techno a lot. What can I say, what an artist.

Kemal  and Rob Data – Gene Sequence

Kemal and Rob Data quite literally still sound ahead of their time 12 years on, timeless boundry breaking music. Meticulous!

Universal project – Haunted Dreams

I love the B boy style of d&b more than any other, UP nailed that South London style street feel, tough and uncompromising.

GCB … Earlier on in you career, you released a fair amount of material with Renegade Hardware. Why did you decide to leave Hardware and start your own imprint ?

RAIDEN … I started OffKey about 5 years before I moved on from Hardware. I moved on from Hardware as I didnt feel as they were treating me very well and as a result I wasn’t particularly interested in D&B as a whole. I wanted to expand my palette so to speak, just felt like I was stagnating and at the same time UK Techno was coming into its own. Being a  long time Techno fan, it felt like the right time to get back to my roots, I’m not getting any younger!

GCB … After a decade in DnB, you decided to follow your long term dream and make Techno. A dream that has been realized under your “KSP” moniker. How is that going ?

RAIDEN … KSP is going very well and creatively I’ve never been happier, I’ve carved out my own sound based on foley recording which is more like a documentary in sound. I sample real world objects and try and get as many sounds out of them as possible then processing them. KSP is all about texture in sound design. Im currently in the process of making tunes for Luke Slater’s Mote Evolver which a dream come true, hopefully he’ll like the tracks!

GCB … Its no secret that you experiment a lot with your music. What’s the weirdest place you’ve visited to record samples ?

RAIDEN … I got some funny looks recently while sampling the door on a single decker bus. Every time I heard the doors close the pneumatics it gave of a very particular tone and I just had to have it!

Right now I’m obsessed with feedback loops ran via outboard fx chains and underwater contact microphones.

GCB … You’ve recently returned to the UK after a few years living in Estonia. How is it being back in the UK and do you have any plans to move abroad again in the future ?

RAIDEN … Its great being back in the culture I grew up in and the opportunities it presents, socially and economically. The thing I loved about Estonia was the isolation and embracing another culture, I never thought I was going to come back. But, after 8 years I felt it was time for a change and another risk. I’ve moved to Bristol so I’m in a opposite situation. The thing I love about Bristol is the cross pollination of music and its very open source.

GCB … You’ve produced on a few different DAW’s. What DAW are you using now and why does it stand out from the rest ?

RAIDEN … I’m currently using Ableton but I wouldn’t say that dictates my process,  its more just a tool to facilitate ideas and as I’ve used Ableton for almost 10 years, I find it very fast for doing that. My process is more about foley recording and pushing cheap analog gear to do things it wasn’t designed for. 

GCB … Aside from Tech:nology (for obvious reasons). Whats your favourite event to perform at in the UK and why ?

RAIDEN … I love playing for Jungle Syndicate, they get everything right. They use a Thunder Ridge sound system which is the same model as the system from the End club (rip), amazing production and a very unique aesthetic.

I really enjoy playing in the UK above anywhere else. You can take big risks in the UK and people get it, I guess because we come from the same cultural reference point.

GCB … Tell us 3 things you hate about DnB and give us some insight as to why these issues strike a chord with you personally ?

RAIDEN … Hate is a strong word but I’ll have a go!

D&B is very conservative when it comes to creativity. This climate encourages producers to play it safe so a lot the music ends up sounding the same. 

Politics. You don’t realise how political d&b is until you operate in other genres and how unnecessary it all is. 

Too much subdividing of micro genres, all this does is bring a particular rule set to a sound that’s not got a particularly wide palette to begin with.

GCB … Its clear that you’re a man of many interests. DnB, techno, beer, fishing, Vespa’s, moustaches, guitar pedals, hats, Ben Sherman shirts, angry punk music etc. Give us some info on what else you’re into and why this shit makes you tick ?

RAIDEN … I’m obsessed with everything to do with Mod culture at the moment; the music, scooters and clothes. Its the idea of cleaning living in difficult circumstances, standing out from the crowd with a sense of style. I’ve just finished restoring a Vespa PX, its now covered in chrome,  mirrors and spot lamps. I love the clothes, music and mentality that goes with this lifestyle. I’ve met so many new people via the scooter scene and been a real deal breaker coming back to the UK.

GCB … Who’s your favourite DnB MC and why do you rate them ?

RAIDEN … Hands down 2Shy MC, he’s very unique and has a massive amount of energy and presence when he performs. There’s something very honest about his style, there’s no front, very real.

GCB … With regards to DnB, how would you describe your new sound ?

RAIDEN … I’m not actually aware I have I new sound to be honest, you just gradually move forward. Maybe I’ve learnt some tricks from producing KSP material. I’m very influenced by arty abstract acts such as Emptyset and Roly Porter at the moment and I’m going to a lot of sonic art events, I guess that could be it. When I do make d&b I wanna capture the energy that first got me into it as I don’t really hear much of that at the moment. Focus on making the tune sound ‘BIG’ so to speak.

GCB … You’ve released on a fair few labels in your time. Which one has treated you the best, business wise ?

RAIDEN … Hospital records were an absolute pleasure, very encouraging and professional. Even criticism are delivered in the form of a compliment, it’s very empowering. WNCL and Deca Rhythm are an absolute pleasure to deal with. They even paid me which is a bonus ha!

GCB … Finally, what are you plans for 2014 and where do you see yourself in 2015 ?

RAIDEN … I want to have my fingers in many musical pies in 2015 with multiple projects spanning many styles, variety is the spice of life! 

KSP is going through the roof atm with over 5 eps due for release by the end of the year.

I’ve just started a new project with my mate Wedge making abstract sound design music where there is literally no rules, we don’t even use bpm or the grid in the DAW. We go to great lengths to make new sounds in an almost BBC Radiophonic workshop fashion. I really think this project is going to take off. 

 I love the Bristol music community, there so much cross pollination which results in interesting collabs and projects. I plan to take full advantage of this unique situation and enjoy it.

GCB … Finally, thanks again for taking the time to chat to me today, Hopefully next time we can do this face to face over a few cold ones. I wish you all the best for the future mate.

Until next time … Peace.

@iBANE_DNB

Artist Interview – Clayton (Renegade Hardware)

For almost 2 decades, one label has dominated dark DnB.

This label has well and truly solidified its spot at the top of the food chain. In fact, if you think about it properly, this label is directly responsible for launching the careers of some of the most groundbreaking and original artists to ever grace the dark DnB spectrum.

Browsing through its discography, the first thing that strikes you is the sheer volume of releases and the varied list of producers that have contributed over the years. The second is the uncompromisingly high standard and quality of the output.

This isn’t just a a label or an event, its a fucking institution. In short, this label is “the” benchmark of dark DnB.

Today, I get the chance to interview the man behind the movement. Unlike a lot of label bosses he doesn’t produce for his imprint, nor does he run his label and events to enhance his DJ career. He doesn’t care for the limelight, has never been in it for the fame and is one of a small handful of people in DnB who will actually speak out publicly on almost any issue.

To be honest, I’m chuffed to bits that he agreed to the interview. I set up #GCB because I wanted to talk about all the things in DnB that get swept under the carpet, the issues that affect everyone, but no one wants to speak about because no one wants to “rock the boat”.

With all that in mind, it gives me great pleasure to introduce a man who couldn’t give a monkeys about “rocking the boat”. If anything I’m sure he’d be more than happy to capsize the boat and fucking swim home lol. So, without further ado, ladies and gents please be upstanding for Mr Renegade Hardware himself … Clayton Hines.

GCB … Firstly, thanks for taking the time to talk to me today. Secondly I’d like to personally thank you for almost 20 years of amazing music. The very first vinyl I ever bought was Cause4Concern’s “Symptom EP”, from that day on I was hooked and purchased every other RH release on sight.

Right, pleasantries well and truly dealt with, lets get to it.

Can you tell us a bit about how it all started and what was your main motivation for creating the Hardware imprint ?

CLAYTON … Renegade hardware started in 1995 primarily as an outlet to put out the harder and darker side of drum and bass. At the time we two other imprints, Trouble on Vinyl and Renegade recordings which catered for the more hip hop influenced and jazzier side of drum and bass.

GCB … 20 years is a long time to be doing the same job. Do you ever think “fuck this, I’m done” and if so, can you tell us what keeps you from jacking it all in ?

CLAYTON … Over the last few years I have thought about stopping from time to time, but the fact that we are going to be twenty next year to me that is a major milestone for a label to be around that long and still current, so if I am going to stop it won’t be before the end of 2015.

GCB … Financially speaking, in terms of actual profit in your pocket, which Hardware release has been the most successful ?

CLAYTON … In terms of sales it would have to be Killer Bees/Messiah/Twist Em Out

GCB … Musically speaking, in terms of your own personal taste, what is your favourite Hardware release and why ?

CLAYTON … My favourite hardware release from a musical standpoint is Dead by Dawn – Future Force as that was the tune that got the label noticed.

GCB … You’re well know in DnB for speaking your mind and talking straight. Do you think we need more honesty in DnB in order to move forward as a scene.

CLAYTON … I think there is too much people talking sideways in drum and bass and no ones wants to tell you how it is is, for the fear of upsetting the establishment/illuminati. I am at the point where I have to tell it how it is and I am self sufficient so I am not scared of reprisal.

GCB … When I was doing some research for the interview, I stumbled across a post on a forum which briefly went into the controversy surrounding the “Messiah” signing. There have been plenty of stories and rumours relating to this issue, everyone seems to have a theory or an opinion and I think its time we got the full story. Can you tell us what actually happened ?

CLAYTON … The messiah situation has been blown way out of proportion in the last ten years or so. I don’t have enough time in the interview to go into full detail but the long and short of the story is we signed the tune from Konflict, when Bad Company asked them for the tune thats when we had to put our foot down and ask to the honour the agreement that was in place initially.

We didn’t strong arm the tune, no guns were taken out contrary to popular belief, we done what any other record label would have done.

GCB … Hardware had a legendary, long standing residency at “The End”. What was it about the club that made you base your events there for so long ?

CLAYTON …  The End to me was one of the best venues in the capital and holds fond memories. Before our residency started in July 97 I used to go there as raver and always wanted to do events in there, so when the time came and we managed to secure a by monthly slot I was chuffed to bits. I think it was the perfect marriage between the layout of the club and our sound. What many people don’t realise is that we were the longest residency there (11 years) across all genres.

 The vibes when the club was packed is hard to describe unless you were there, What made the club even more outstanding was the management. Even to this day I still get people I still get people reminiscing about the parties we held.

GCB … You won the “behind the scenes” award in 2012. How did you feel about the award and what are your general thoughts on award ceremonies in DnB ?

CLAYTON … The way award ceremonies are viewed now days, it is more of a popularity contest i.e. (Facebook likes etc) rather than actual output from the label/producer.

To me, its just an ego boost. They are only relevant to the winners, whoever wins gets to put their price up over the next twelve months

GCB … Name your top 3 DnB tracks of all time and give us a bit of info as to why those 3 tracks stand out for you ?

CLAYTON …

Dillinja – Silver Blade

It is a timeless classic

Wax Doctor  – Spectrum

This track takes me on a musical journey and the drum programming is so intricate.

Studio 2  – Dirty Games

This track is jungle it is purest art form.

GCB … You’ve scaled back your operations and focused your efforts mostly on Hardware in recent years. At one point you had 3 other labels in addition to Hardware (TOV/Barcode/Renegade). I know Donny is running Barcode now, can you tell us how that came about and give us some info on the current situation with regards to TOV and Renegade recordings ?

CLAYTON … I gave barcode away just before TOV Music Group closed down. The direction barcode was going musically I wasn’t feeling. The sound was a bit too harsh for me so I gave it to Syall who was our label manger at the time.

With regards to TOV and Renegade Recording both of them have been defunct for the last seven/eight years.

Maybe sometime next year we will remix some of the old catalogue.

GCB … Tell us about “the ones that got away”. Name 3 tracks that you wished you had signed to Hardware ?

CLAYTON …

System – Near Miss

Hive D Bridge – Standing room only

Konflict  – Reanimation

GCB … Aside from Hardware, whats your favourite DnB event and can you tell us why you rate it ?

CLAYTON … My favourite DnB events apart from Hardware is a night called Rupture at Cosica Studios.

I like the fact it is an organic crowd, meaning they come strictly for the music and they have a very loyal knowledgable audience. I went to their first event seven years ago in Camden Lock and it is good to see how far they have come.

GCB … In the past there have been a fair amount of rumours and gossip surrounding Hardware’s business practices. A few artists have actually stated publicly that they are owed money for tracks and gigs etc. I set up this blog to ask the questions no one else was asking, so, with that in mind. Have you always paid every artist what was agreed for tracks and performances and if not, can you tell us why ?

CLAYTON … Regarding rumours and gossip about disgruntled artists not being paid, What label hasn’t had the same thing said about them?

Yes we did get in a situation where the label was doing ok but the event side of things took a downward spiral and that had severe financial consequences.

This situation has been magnified as my so called reputation precedes me. It makes me laugh when I hear the on goings at other labels but no one says nothing. 

TOV music group went into liquidation in 2008 when the digital age came into play it effected us just like everyone else.

GCB … You are the very first person in DnB that I’ve spoken to who is also heavily into battle rap. Is there anyone else in DnB on the same vibe or is it literally just us 2 lol ?

CLAYTON … The only other person I know from the Drum and Bass scene who is into BattleRap as much as me in Ben (ex Metalheadz label manager) Im actually in talks at the moment to start a night which is geared towards BattleRap.

GCB … Who is your all time favourite DnB DJ and why do you rate them ?

CLAYTON … My favourite all time Jungle and dnb Dj is DJ Ron. Before I ran a label and done events I was a raver and Ron set always stood out. I used to listen to him in Beatfreak Sound System with him and Rebel MC.

GCB … You’ve made no secret of the fact (on twitter) that you don’t really like dealing with artist agencies/agents. Can you give us some info as to why ?

CLAYTON … Most artist agents can’t see the big picture.

Most DJ at this level don’t need an agent, if anything it convolutes the whole booking process.

If you look at most of the agents around now in Drum n Bass most are failed record label bosses/ DJ/producers who last resort is being an agent.

GCB … Name 3 labels in DnB that you rate and tell us why you’re into them ?

CLAYTON …

Hospital Records – Head and Shoulders above anybody else in the scenes in terms of marketing and self promotion. This is the way a label should be run. They are a major operating as an indy.

Digital Sound Boy – I like the fact Shy put what he wanted on this label regardless of what other people thought and didn’t get caught in up in the whole (it has to be 170 BPM)

Soul R – When Soul R was at the height of its game, the music and the way it was packaged stood out. Marcus never jumped on any bandwagons.

GCB … Hardware has moved around a fair bit (club wise) since its time at “The End”. You’ve recently moved the events to “Electric” in Brixton. Are you happy with the venue so far and do you see yourself staying there ?

CLAYTON … Electric for us is the perfect venue in the present climate. We have cut back and we only do three events per year in London. The venue and the sound system is perfect for our audience and we will definitely be there for the foreseeable future.

GCB … Who is your favourite MC in DnB and why do you think they stand out from the rest ?

CLAYTON … My favourite is MC in DnB is MC Dynamite. He stands out for me for his versatility and stage presence.

GCB … Do you think Hardware has any real competition in the dark end of the DnB Spectrum ?

CLAYTON …  Hardware has competition in the dark side of DnB. Competition is healthy it keeps you on your toes. There is no time for complacency.

GCB … Over the years, Hardware has had a massive list of talent release on the label, literally almost everyone who’s worth mentioning in dark DnB has at some point released on Hardware. A lot of these artists come through your door, stay for a few releases, then they’re off, either setting up their own labels or releasing elsewhere. Personally, I think this constant influx of new talent has helped Hardware grow and progress, if nothing else its certainly helped the label stay fresh and relevant for 2 decades. Is it a conscious decision to keep the production line moving or would you like to hold onto certain artists for longer ?

CLAYTON … Hardware’s ethos from the start has always been about nurturing and bringing new talent through. I think the constant influx of new artists is one of the reasons why Renegade Hardware has managed to stay relevant for so long, in a scene which is constantly moving.

Hindsight is a wonderful thing! I would have loved to have signed a few artists exclusively who have gone on to do do bigger and better things.

GCB … For a long time, you had a studio/shop/HQ in south London. Why did you decide to “shut up shop” so to speak ?

CLAYTON … We had to close the studio/office due to the economic recession coupled with the decline of Vinyl and increased demand for digital products. It was no longer financially viable to sustain the amount of overheads we had.

GCB … At what point during your career did you think “yes, we’ve cracked it” and how did that make you feel at the time ?

CLAYTON … Im yet to come to that point where I think I have truly cracked it. I am always setting new goals.

GCB … If you ever did decide to “call it a day” would you ever sell the “Hardware” brand and if so, how much are we talking ?

CLAYTON … When I do decide to call it a day. It will stay in the bloodline.

GCB … Its no secret that you have had several label managers over the years. Which one do you think did the most in terms of raising the labels profile ?

CLAYTON … In my opinion the best label manager I have worked with is Scott AKA Cold Fusion who is the present label manager.

GCB … Do you think Hardware has reached its full potential as a brand ?

CLAYTON … I think there is a ceiling for our type of drum and bass and it will be hard for that sound to reach a wider audience but we have our purest who love what we do.

GCB … Finally, what are your plans for 2014 and where do you see yourself and the label in 2015 ?

CLAYTON … 2014 we will be making plans for our big 20 year anniversary. We will be taking our sound on a global tour.

GCB … Thanks again for taking the time to chat to me today fella. I wish you and your brand every success in the future, here’s to another 20 years.

Until next time … Peace.

@iBANE_DNB

 

Artist Interview – Paulrus (Jungle Syndicate)

In my experience, the hardest job in DnB has to be that of the Promoter.

In most cases, its a thankless task. they spend days, weeks, sometimes even months planning events. The hours are long and the ball ache that goes with it is enough to give any sane human being a massive hernia.

They have to deal with artists and punters, at the same time, usually in the same place, which can be an ordeal in itself. The financial involvement can range from amazing profit to near bankruptcy in a single event. Then there is the flyering. Countless nights spent in the pissing rain/sleet/snow trying to do a decent job while hoards of fucked people brush past you without so much as a second glance.

In short, its not fucking easy by anyone’s standards. Yet there are people out there who truly excel at it.

One of these people is the man I’m interviewing today. He literally lives, breathes and shits DnB. He doesn’t produce or DJ, he’s not an MC or vocalist, in fact, he has no performance related input into DnB whatsoever. His skill and artistry stems from hard work, dedication and a clear cut vision of how he and his team want people to experience real, grass roots DnB.

A lot of people in DnB always claim to be “on road”, a statement which in essence, is a huge pile of shit. A Facebook post or a Tweet saying “mans on road” means fuck all if you’re sat in your house, posting from your mums PC. This guy is actually “on road”, every single weekend, without fail. This guys is out there, at every event, at every bar beforehand and most after parties that follow the events. This guy is part of an unstoppable team that has flooded the underground with some of the most amazing events ever to grace the dark DnB spectrum.

I plan to do a full event review in the not too distant future. This guy is part of a solid team and although this interview is focusing on the individual, I want to make it quite clear that with regards to the events and the label, it has and always will be, a team effort.

So, after one of the biggest (and well deserved) intro’s I’ve ever written. It gives me great pleasure to introduce the original “Pec swilling amen walrus” … Paul Syndiclart.

GCB … Firstly, thanks for taking the time to chat to me today, without further ado, lets get down to business. Can you tell us a bit about yourself, how you got into DnB and more importantly, how you ended up promoting one of the most successful and consistent events in dark DnB ?

PAULRUS … Though DnB is basically the last 8 years of my life it starts before that, hip hop was and still is my first love when it comes to music but I never had a chance to go to hip hop gigs, the security were always so tight with ID it was impossible to get in most gigs before I was 18, whereas my mates were regularly heading to nights at Fabric and then later Hardware and Therapy. I went down to a few nights at Fabric and had a great time. Back then I was just touching the surface so was just listening in clubs to jump-up. Not surprisingly jump-up isn’t a particularly deep sub-genre so I started listening to more liquid stuff, and taking it out of the club and listening to it on headphones. I originally had never been into the harder styles of DnB that much, but as I went to a night called Braindrop (ran by The mighty McMash Clan) I started to get introduced to darker drum & bass, rinsing jungle and disgusting breakcore – and the big defining factor that they all had in common was the use of an amen break, that was probably my second big love in music.

Having been good mates with the guys who started Jungle Syndicate (went to secondary school with Nick, good friends with Colm) I always wanted to help them however I could, I’m no DJ, I’m no MC but I love the music so I’d do what I could. I started out helping the Bristol Syndicate with their promotional material, and when it came to re-launching Jungle Syndicate London at The Rhythm Factory I offered to help out with funding and promotion, and I suppose the rest is history, been a big part of the London promotions team ever since, as well as joint ventures like the branding, website admin and record label.

GCB … You’re responsible for promoting the London events. Can you tell us a bit about how much work actually goes into that on a day to day/week to week basis ?

PAULRUS …At the moment in London we’re having a bit of time off as a lot of the crew, myself included, are prioritising other areas of our lives. As much as it sucks to say that we have no forthcoming event, we have to keep sane in order to keep on, so we just need a bit of time out to sort things out. Also it’s to make sure we can come back bigger and better, until then Bristol and Manchester are holding the fort (and doing a damn fine job of that).

But the usual schedule would be sort dates out with venue firstly, hopefully a decent amount of time from the current date, then draft a line-up and rough budget so we can get an idea of what we’re working with. Then confirm the line-up and hopefully a rough idea of set times (set times always change though, so this is usually a pointless practice until the night before the event), once that’s done brief flyers to our main man Conzpiracy (check him out, conzpiracy.co.uk) and start online promotion. Once flyers arrive we will set out a rough idea of any and all events in London and possibly Bristol / Brighton that are slightly relevant, then on a weekend by weekend basis will make a decision what’s worth hitting, obviously the whole time we’ll be spamming online promotion, hitting record stores and such. Last thing we have to worry about is décor for the night, and then it’s just a case of looking after the event as it happens, make sure artists are on time and everything’s alright, look after recordings, deal with any issues etc. On a good run if our events are pretty regular we will try to have this all overlapping and have flyers ready for the next event, but that’s extremely difficult to achieve.

GCB … I’ve spoken to a lot of artists during my time in DnB and also during my research for this interview. Almost every single artist I’ve spoken to has said the same thing. “Jungle Syndicate put on amazing events, they pay properly and they know how to treat artists”. What is it that you guys are doing that has gained you such a solid reputation with artists and what do you think sets you apart from the rest of the promoters out there with regards to events ?

PAULRUS … We’re still a young event, we just haven’t had time to fuck it up yet. Haha. Nah but seriously, thinking about this I think it comes down to our name… no not Jungle, as our event is using that word in the loosest sense possible sometimes, but Syndicate. We operate as a group, not as one singular mind but one singular vision. This has caused problems down the line, especially dealing with venues it just seems to them like everybody’s the fucking promoter, but in the way that it removes personal issues. While one of us may say something, or one of us may not like artist X we won’t let it affect our work. I’m sure if Jungle Syndicate was just my event it’d be very different, not just to do with the styles I prefer but also to how I would run it. As for our rep, I suppose it’s just down to why we’re doing this, and coming back to why I’m doing this, I’m just trying to help the music I love, simply for the fact I love it, and while money keeps it going it’s not the reason why we’re doing this. I have a decent career that I make my money from, which means I can focus on doing Jungle Syndicate as a hobby. I think anyone who takes this attitude to music usually ends up making some of the best music, because music isn’t clouding their creative output, although there is those out there making decent money and not compromising at all, but that’s extremely rare these days it seems.

GCB … In financial terms, when it comes to actual profit, what’s the best JS event you’ve been a part of so far ?

PAULRUS … Hmmm, I can’t say for definite as most of my event records are on an old hard drive of mine, but I’m pretty sure it would be our January 2012 event. If not then it definitely felt like it. The event was ridiculously busy, with queues stretching around the block from very early on, which eventually led to a 1 in 1 out situation and even mateys of mine not being able to get in, which sucks as a matey but is a nice situation to be in as a promoter. The event was the busiest I’ve ever seen Rhythm Factory and must have been way over capacity. Obviously the very end January is a great time to party as most people have had a chill January after a mental December, so they’re looking at the end of January around payday for a first night of the year (we did a similar weekend the year before and that was really packed as well), as well as having little to no relevant competition that weekend. We also had one of our best lineups, with Dom & Roland doing an amen set, Trace doing his last set for a while before his usual jetsetting around the globe, as well as Script, D-Fect, Amen-tal, Ghost, Anorak, Pastaman, Vega, Mr Foul and more… It was one of them times where we put in the work with the lineup, décor etc, and the rest just perfectly fell in place – and it resulted in one helluva party.

GCB … Can you name your top 3 DnB tracks of all time and tell us why they stand out from the rest ?

PAULRUS … Fucker… I hate this question! But I’ve been thinking about it and while it’s difficult to say top 3 of all time because my memory sucks and that’s probably too difficult, I’ll do my best, at least for now.

Pish Posh – Corrupt Cops (Evol Intent Remix)
Just one of them tunes that never gets old, and also one of those tunes that was a turning point for me, one of the first tunes I heard that really turned me to the dark side. As soon as I get a whiff of this tune in a set I’ll standardly go fucking mental.

Technical Itch & Trace – Quad
Can’t really have a top 3 without Tech Itch… and while there is tunes of his that are more rinsing, and some that are more iconic this has always been a favourite of mine, just the way it builds and progresses. A great tune from a great era where Tech Itch and Trace were both absolutely smashing it.

Dub One – Cry of War
Jeez, this tune man… this tune! It’s just ridiculous. I heard this tune many years before meeting Olly and it gave me a very different image of him, in no bad way at all, I just didn’t expect him to be as chill as he is, I expected to see a little more aggression. I was just confused where a tune as sick as Cry of War came from, and from talking to him it seems he’s not quite sure, just one of them tunes that surprises everyone, artist included. Absolute filth!

GCB … Be honest, there must be times when you’re missing the last set of every event and standing outside in the rain that you must get pissed off with flyering. Aside from the obvious, why do you do it and how do you maintain that commitment ?

PAULRUS … It’s definitely the most difficult part of promoting, without a shadow… and yeah when you’ve missed Threshold’s set for the 5th time in a year (no joke) or when the venue allows Trace to play for an extra hour (although good stuff for those enjoying it) while it’s snowing outside it’s horrible. But sometimes it ain’t all that bad, it’s a nice chance to connect with punters and promoters outside the club environment (alright not very far outside the club but still) and it’s a good way to gauge interest for your next night as well, see reactions to line-ups and that. End of the day it’s one of them necessary sacrifices that you just gotta get on with if you want to have a successful event, going out ain’t all about me, part of me is there to work, so just gotta get on and do it. We’ve thought about moving to just flyer packs but I’ve stood there next to boxes of flyers for some mashed up munter come out for 5 minutes to hand them out, so at least when I’m doing it I know it’s getting done, or at least I know if I’ve decided to call it that I gave myself permission so it’s alright. When it comes down to it it’s a necessary sacrifice in order to fill a club, and it’s always worth it.

GCB … What’s the best “blag line” you’ve ever heard from a punter trying to score free entry into one of your events ?

PAULRUS … It wasn’t quite a blag line but on our first Jungle Syndicate London at Rhythm Factory some guy called Scratchy from Roll Deep turned up, and  he tried to blag cheap entry for himself and a couple of girls because of who he was an who he was affiliated with… it was a nice try but honestly I still wasn’t sure who the fuck he was even when he told me and I didn’t really give two shits, but it was amusing none the less, and I think in the end he ended up getting 1 quid off entry, so egg on my face! The funny thing was a year later he came back to the 1st year birthday… I have no idea what that man does in Whitechapel in August, but obviously it’s a yearly ting.

My general blag line that proper grinds my gears is “it was free last week, what do you mean it’s not free this week”, erm, maybe because we’re not the same promoter who did the party last week. It’s a shame because as soon as you hear that you know they’re probably not there for the music at all, which is disappointing… will still take their money though.

GCB … JS have recently moved into the festival market, hosting the infamous “Prohibition Den” at Boomtown. Can you give us a bit of info as to how that came about and what goes into putting on a 3 day event ?

PAULRUS … A few years ago a bunch of Jungle Syndicate crew members went to Boomtown and absolutely loved it, so obviously wanted to be involved because it is a great buzz to be involved in, but they also felt that it was missing a lot of the amen jungle, drum & bass and breakcore that a lot of people going loved. There was little bits of it, with the closest thing being from the Bodyshop, but no haven for the amen heads. So instead of whining, we decided to do something about it. So we teamed up with our good mateys the Amen-tal crew and put forward a cracking proposal. There’s a lot of work that goes into something like Boomtown, but the music is only half the battle. While a strong line-up with lots of support from artist we’d worked with over the years was a massive help, the theme and décor was equally important. As for what goes into it the décor crew will turn up a week before the event and start setting up turning a blank tent into The Prohibition Den, it’s mad. When it all kicks off it’s just a case of looking after the artists and making sure there’s no problems, normal event stuff really. We’ve been doing the Prohibition Den for 2 years now, and will be back this year as well, it’s definitely a highlight of the year for Jungle Syndicate.

GCB … I interviewed Smyla a while back and he mentioned that you deal with the release artwork for MUTE:8 Recordings. JS and MUTE:8 have also worked together events wise in the past. Can you tell us how that came about and if there are any future plans to work with MUTE:8 ?

PAULRUS … It all came about as a little scratchy back from the both of us, Mute:8 helped us out a lot sorting out some of the paperwork and preparation for our label, in return asking for some events to host the second room at, so we gave them a few nights. We plan to continue at some point, but at the moment we’re just worrying about ourselves at the moment. There is plans to get a Promoter Battles going in London in similar vane to Bristol, which will be a great opportunity for us to do a slightly larger event than Jungle Syndicate and also to involve lots of promoters and lots of crowds in an uber event. At current there’s nothing planned but the relationship is still as strong as ever.

GCB … Aside from JS, what’s your favourite event in the UK and why ?

PAULRUS … Hmmm, this is another question like favourite tunes, and it’s a pain in the pooper. I think I’d have to say Rupture though. Every time I’ve gone I’ve had a great time, the music is always top quality, the venue is one of my favourite in London (and being in London it’s local) and the crowd who frequent it are a great bunch. Enough respect to Dave and Indi and all the Rupture family. While their line-ups are obviously more based around the old school foundation sound of drum and bass, and there’s none of the harder side of things that I like, it’s full of top quality amens, whereas with something like Bangface (which is a great event too) the variation sometimes works against it in my opinion and can lead to not enough amens. But then they’re very different beasts, and undoubtedly Bangface is a on a much larger level whereas Rupture is a smaller more focused event, bit like Jungle Syndicate in that respect. Honourable London mentions have to go out to Technicality, Tech:nology and Intent 2 Supply (RIP) which I’ve had some of the best nights in London at. Also, a special shout out goes to the new party in town BEATZ, any London event that books Equinox, Drum Cypha, Relapse and Squif always has my full attention!

GCB … I’m not into “naming and shaming”, so you don’t have to give names, but can you give us an example of when you’ve paid good money for an artist and they have either not delivered musically, or just been a real fucking diva on the night ?

PAULRUS … Nah don’t really want to name or shame anyone myself, but yeah there’s been a handful of people who have disappointed. Some big names, some smaller. Anyone who brings an ego to Jungle Syndicate I tell them where to check it. There should be no ego at Jungle Syndicate, as much as I respect an artists input to the scene, or their legacy, don’t use that as any reason to think you’re the shit, no matter how much I respect who you are and what you’ve done, I respect humility a whole lot more.

GCB … What are you’re thoughts on Crossbreed ?

PAULRUS … Err no thanks. The flow just doesn’t do it for me, and too many snares and kick drums just start scaring me after a while, needs more amen. It is what it is, it does what it does, which is fine, it’s just that it’s always classed in similar breath to drum and bass because a lot of artists came from drum and bass into it, when in fact it’s much closer to techno and hardcore than drum and bass. It’s not for me. Though as I said it did knick some top quality drum and bass artists, and because of that it killed a lot of the dark amen stuff that was being made, which sucks.

GCB … Can you settle the debate, why the fuck do people call you “Paulrus” and where did the nickname come from ?

PAULRUS … I am the walrus – coo-coo-kachoo! Hahaha. It all started when a friend of mine started calling me “the pec swilling amen walrus”, I can’t remember exactly why now, just the usual good times chatter and I found it highly amusing, and to a degree fitting so started adopting the walrus moniker, and seeing as my name is Paul it was just a natural progression to Paulrus. What’s quite funny is that someone completely separate to my first friend said that I reminded them of a walrus , so there’s obviously something in it. Now I treat it like that scene with the penguin in Fight Club, the walrus is my spirit animal! Walruses are pretty awesome as well, just sitting around all day being tusky and that. It’s great now because friends from all walks of life see anything walrus related and they think of me, so my imprint on the world has been strengthened through the majestic glory of the walrus!

GCB … In your opinion, which producer makes the best amens ?

PAULRUS … Hmmm, I think I would have to say Tech Itch, partly for his legacy, but even now when one of his amen tears out of his recent Progression Threat series of albums it blows ya’ fucking socks off. But a massive honourable mention has to go to Bkey as he has been equally consistent over the years and still absolutely killing it nowadays, he’s a very close second. Two absolute amen legends right there, and equally great chaps too!

GCB … You’ve recently launched a label, what made you guys decide to take that step and can you give us a bit of info as to how that all came about ?

PAULRUS … Natural progression really, if you have a successful event it makes sense to try create a successful label based around the same ethos. Like the other way round, if you have a successful label you should try creating a successful event, or at least speak with a club promoter, or a promotions team to help you do so. The fact that we have an event that caters around a specific taste, but at the same time is quite varied, works quite well, we’ve had jungle breakcore, old school jungle (quite a bit of it actually), bit of drum funk, bit of tearout drum & bass, lots of good stuff. Just how we ask artists to bring amens to our events, we ask them to bring amens to our label, and just like any other label out there I will say that whole thing of “no it’s not just amens, we’re more than just amens”, but lets not kid about, that’s where it all really shines and sings Jungle Syndicate the loudest! We now have something to ask when artists come to us asking for sets; we reply asking for tunes!

GCB … In your opinion, whats the best sound system/rig in the UK and why do you think it stands out from the rest ?

PAULRUS … Hmm, this should be more difficult, because there is a lot of great rigs in the UK, but there two that really stand out for me, and that is the Fundamental Audio rig that we’ve used for the Prohibition Den and Soundflow Festival, and then the rig I would rate at the top is without doubt the Neverlution Soundsystem. The Neverlution guys are some of the nicest, most dedicated guys I’ve met, and they’re pretty much involved with everything that’s good in Bristol. It’s pretty much the resident sound system for the Black Swan these days, no matter where it is, upstairs or downstairs it sounds great. The guys are really attentive over the whole night, constantly asking if it sounds alright, and constantly tweaking it if they feel it doesn’t. There was a while where I was sort of taking it for granted, I forgot how much of an issue bad sound could be, because whenever I’m in front of the Neverlution rig you know there’s no issue with the sound, it was only when someone mentioned how good it is that I thought about it, and yeah he was right, it is really good, I should give that more respect, but then I suppose when people get to that point where they see Neverlution on a flyer they know how it’ll sound, (ie faultless), then surely that’s pretty much mission accomplished. They also throw one of the best little parties every year, that is one of my absolute highlights of the year, sometimes being a better experience than some of the big festivals. Cannot praise them guys enough!

GCB … Finally, what are your plans for 2014 and where do you see yourself and JS in 2015 ?

PAULRUS … Hopefully this year we can successfully get Jungle Syndicate London up and running again, as well as starting to potentially make something of our Promoter Battles idea in London. Then on the label hopefully there’s no reason we can’t carry on as we our with our digital releases, although we do have a few releases planned that would be especially awesome to get sorted. It would be nice to think about vinyl 002 as well, but that may overlap into the next year. As for further than that, I’m not quite sure we’ll need to work that out, there’s always a few ideas brewing here and there within the crew, the beauty of having such a large crew of talented, hard working individuals.

GCB … Thanks again for taking the time to chat to me today fella, much appreciated. I would like to take this opportunity to wish you and JS all the best for the future. As I stated previously, I’ll be doing a proper event review at some point in the near future, I take it guest list won’t be an issue lol.

Until next time … Peace.

@iBANE_DNB

Artist Interview – MC Kryptomedic

Over the last few years, one artist in particular has been putting some serious work in.

He’s out gigging nearly every weekend, sharing stages with some of the biggest names in dark DnB. In fact, you will struggle to find a line up or flyer in Europe without his name on it.

To date, he hasn’t had many UK bookings, which is a crying shame because his bars, delivery and work ethic rival some of the best that the UK has to offer.

With all that in mind, it gives me great pleasure to introduce one of the most talented (and underrated) MC’s on the circuit. Ladies and gents, please give a warm #GCB welcome to “our man from Mannheim” … MC Kryptomedic.

GCB … Thanks for taking the time to chat to me today. lets get straight to it.

You’re originally from the US, now you live in Germany. Can you give us a bit of background about yourself and tell us a bit about how you ended up repping DnB so far from home ?

KRYPTOMEDIC … Yeah it’s a bit crazy really, so, I am originally from Chelmsford/Lowell Massachussetts which is outside of Boston on the East Coast.  I grew up a typical skater kid playing in various punk bands and listening to ska and metal and also a heavy amount of underground hip hop.

Later I landed in Germany as a soldier in the US Army and it was basically luck that I was stationed in Mannheim where Jungle and Drum and Bass has been alive and well since the early 90s. Almost immediately I was introduced to Drum and Bass and the surrounding scene through friends as we attended a spectrum of events featuring such artists from Black Sun Empire and Concord Dawn, to Marky & Dillinja. I had never imagined myself living in Europe but it was such a blast to be able to attend such events, and also life here in general was just going so well that I ended up staying (against orders from the Army to return stateside) and living 10 years in Mannheim and very recently relocating to Munich at the beginning of the year.

GCB … 95% of your gigs are in Europe. With this in mind, do you think being an “English speaking” MC has had a positive or negative impact on your career, bookings wise ?

KRYPTOMEDIC … I would say my English has had a definite positive impact on my career. Few people know this but I actually started out as a MC over here while attending events and exchanging rap bars with local MCs KillaBee & Cam One who in return would show me double time flows over Jungle in the cellars of the Genisis Club back in 2003-05. Nowadays I am able to use it to write for a number of singers as well as myself. As far as gigs go I think its paramount to understand English correctly in order to make sense with the set and thus correctly supporting and pushing it … At least thats my approach.

GCB … You’re a very positive/proactive person, always smiling and looking for the good in any given situation. There must be occasions when you get pissed off just like the rest of us. How do you manage to remain so positive, whats the secret ?

KRYPTOMEDIC … Haha yeah, I do try to be a super positive person. Honestly, I am surprised how many people not only picked up on that but also how many respond to it. For me, I feel like I have quite good luck and I think somehow we build our own luck, the downer remains down, the doer achieves, etc. This is basically the root of my positivity so there is really no secret to it. We get what we give and we get what we deserve.

GCB … Most artists have a “pre gig ritual”. Whats yours ?

KRYPTOMEDIC … So this varies for me depending on where the show is and where I am, very rarely though does it have anything to do with Drum and Bass. Sometimes You can find me listening to Hip Hop or even classic Sinatra or maybe some Jimi Hendrix my headphones when I am “on tour”

For home shows I  do have an actual tradition … I always watch the full concert from THE STREETS @ MELT FESTIVAL 2011 on You Tube. Freaking love that performance. (Anyone who likes good music and has a bit of time should turn that beast on after this interview)

GCB … You’ve collaborated and done some vocal features in your time. Can you name 3 DnB producers who you would like to work with in the future and give us some info as to why you rate them ?

KRYPTOMEDIC … This is a great question because it gets right to what I have been up to lately and the direction I plan on heading, which is of course more releases and making good music. So if I were to just name 3 producers I would like to work with in the future they would be Mefjus & Inside Info (counted as 1 because I’m cheeky) , Billain and Memtrix, all amazing producers and just a great group of dudes honestly, big love for all these guys 😉

GCB … You’re a dedicated skateboarder. I’m sure being a father, writing, gigging and life in general must take up a fair chunk of your leisure time. Do you manage to get out on the board as much as you’d like to ?

KRYPTOMEDIC … Actually I do skate quite often, it is for sure down from a few years ago before I was so active in Drum and Bass but I have been skating far too long to ever stop without doctors orders. Big ups and shoutz to Outsider crew, SBC & Skateboarding München crews.

GCB … Who is your favourite DJ to work with and why ?

KRYPTOMEDIC … Not a fair question, played with too many greats and have too many friends to name one. Instead I would share one moment I often tell people about that I will never forget and always makes me laugh … I was playing in France with Vegas and he threw a rewind. As I started to hype the crowd in front on stage, I looked at him and he shook his head to say no and then he said with just the most insane look in his eyes “Make them wait for it” … It was too funny, and dead on actually, the drop killed.

GCB … You have quite a unique stage name. Can you tell us a bit about why you chose that name and how it relates to you as an artist ?

KRYPTOMEDIC … So this name, haha, geek alert, this name I have had with me since I guess 97/98 … It was given to me from my best friend at the time as we were playing the original Starcraft from Blizzard. Somehow it just stuck 🙂

GCB … Do you think you are paid what you are worth, bookings wise ?

KRYPTOMEDIC … In general yes, I work with so many promoters that were or became friends that I never really worry too much about it.

GCB … Do you miss living in the US and do you have any plans to return there in the future ?

KRYPTOMEDIC … Sometimes I do miss it there, the entire way of living is just totally different but I suppose at this moment I don’t have any plans to return there.

GCB … Name 3 DnB MC’s from the darker/deeper end of the spectrum who inspire you and tell us why you rate them ?

KRYPTOMEDIC … DRS, Coppa, SP:MC, all trend setters and great guys. They all MC in styles I can connect to easily, and I think that goes for a lot of ravers everywhere which would obviously make sense as they are such fan favourites. Flows that make sense and make the brain think just complement the music so well as its not just an underground thumping of bass, its truly much more complex. The music itself is smart, so why shouldn’t the accompanying text be also.

GCB … Can you tell us a bit about how you feel with regards to your own situation concerning UK bookings. You play for all the big events in Europe and when labels and DJ’s come over from the UK, you are generally their “go to” guy for hosting etc. Do you find it frustrating that these labels and DJ’s come running when they’re in Europe, yet rarely ask for your services in the UK ?

KRYPTOMEDIC … No not really, I have hosted a few times over there and it was always a blast so it would be great to come back and maybe start doing it more often sometime soon but I have been able to host for really great crowds all over.

GCB … Do you have a 9-5/day job or are you able to live off the money you receive from bookings ?

KRYPTOMEDIC … I left the 9 – 5 system a few years back as it was just impossible to be a part of all of the projects I wanted to do.

GCB … What are your thoughts on Crossbreed ?

KRYPTOMEDIC … I would say personally, its not for everyone, I can get into it at events but don’t generally listen to it during my free time.

GCB … Whats the best event you’ve ever performed at ?

KRYPTOMEDIC … Twisted Sessions Rennes #10 … Hands down the best party residency I have, they went really big on #10 brining out Koven Live, followed by myself and Smooth and then with Chris Renegade.

GCB … Name 3 things you hate about being an MC and tell us a bit about why these specific issues bug you ?

KRYPTOMEDIC … #1 I hate the stigma of the word MC, in this I mean what DRS addressed with the title of his album, “I Don’t Usually Like MCs But” … I think that is dead on, this is something you could hear any average raver saying, even I myself see why and agree.

#2 Hosting without a sound check or even worse, without a sound engineer on hand, when this happens its easy to sound bad and give a weak performance.

#3 Hosting under attended events, its hard to get into a flow when there aren’t many people there and a lot of space on the floor, promoters will want you to host but it feels like you do it for yourself which of course is a bit ridiculous.

GCB … What are your thoughts on award ceremonies in DnB ?

KRYPTOMEDIC … I think they are a good thing, it makes sense that a culture that grew in the underground supports itself in such a way. I never expected to actually attend one but last year I had the honour of the nomination for New Comer MC from DNBA. Even just attending was a blast, a true blast, as I will always consider myself a fan and a raver before an artist as thats how it all started anyways. It was great to be in a room celebrating the music we love drum and bass. In a room with all the faces and heros of the game and at a point where I can call so many friends, it was truly unforgettable.

GCB … If you had to pick 1 DnB event to headline in the UK. Which one would it be and why ?

KRYPTOMEDIC … Thats a tough one honestly, so many great events going these days … Maybe either a Renegade Hardware in Brixton or say a Critical in Fabric. Both venues, labels, and artists are just stellar so choosing one would be too hard.

GCB … You’ve attended DnB events in the US, the UK and the EU. With regards to personal preference. Can you give us some info on which country has the best “scene” and give us some insight as to why that particular country stands out for you ?

KRYPTOMEDIC … Hands down UK. From the events to the artists and even your everyday ravers, I think UK has it on lock. Its great to actually be there and see ravers with true knowledge on current dnb and labels and producers or tunes. The number of events with killer line ups that go down over there is also wicked. Best scene around 😉

GCB … A while ago I wrote a piece regarding the treatment of MC’s in the scene and went into some detail concerning the “inequalities” in DnB. We spoke briefly over Twitter and it was clear that this was an issue that resonated with you as an artist. Could you elaborate on why this particular piece struck a chord with you and give us your thoughts on the subject ?

KRYPTOMEDIC … I think this is an issue that every MC feels strongly about, it was obvious from the response on Twitter, as you said, that it is a topic worth speaking on at the moment. Everyone from DRS & Fokuz to Stapelton, Teebee and more got involved in that discussion, it was great to see that I am not alone in the realization of this inequality. A good DJ can smash for sure, but a DJ MC Combo can be magic, can be unforgettable … Case in point Calibre & DRS, Jubei & SP:MC etc. Those that posses not just bars but the ART of hosting should be valued, that’s my two cents anyways.

GCB … Are you happy with where you’re at, musically speaking ?

KRYPTOMEDIC … I’m thrilled with where I am at musically speaking which even now 10 years in feels like its just the beginning. It took me 8 years to find my sound really. First flowing in a quick double time and jungle flow for years which just isn’t true to my roots. Once I became a bit more comfortable and confident in hosting and with myself I had a bit of a rebirth going back to the old hip hop bars and styles which works really well for me, somehow a mixture of the two styles back and forth keeps everything fresh and true to my voice and the way it works. This allows for better live shows as well as better tunes.

GCB … Finally, what are your plans for 2014 and where do you see yourself in 2015 ?

KRYPTOMEDIC … This year I have been taking a bit of time off from heavy touring, cutting my show load way down to focus on studio time and other projects.

One of my main projects that people should be aware of is my takeover of LOW FREQUENCY RECORDINGS. Previously owned and operated by Psychical Research aka Target1. We are currently in the process of getting the legal paperwork done as I have officially purchased the label and will move it from Brno, Czech Republic to Munich.  There are already 5 Eps signed and sealed, coming with some big tunes and nice names attached such as Teddy Killerz and more, so look for great things from the label as we plan to stay true to the roots as well as tap into my network for tunes from such producers as Bone, Tom SMall, Disphonia and more.

As far as my career goes I have been in the studio a lot so expect a flood of tunes to start coming on labels like Eatbrain, Citrus, Icarus, Authentic, True Box, Dissected Culture, Dark Manoeuvers, Machinist Music and even some bigger ones that I can’t discuss yet. Big collabs, good vibes, dark tunes, different genres, fun remixes, more music videos, the works. Finally having a taste for making music people enjoy and songs that will long outlast me, I am ready to and working on carving out my spot in the world of Drum and Bass and have no plans of stopping anytime soon. This is just the start!

GCB … Thanks again for taking the time to chat to me today fella. I wish you all the best for the future. Hopefully some of these labels and promoters will start booking you in the UK in the not too distant future and we can catch up face to face for a couple of cold ones.

Until next time … Peace.

iBANE_DNB

Artist Interview – Lethal

There are some artists in the darker end of the DnB spectrum who are so underrated, its actually borderline criminal.

My next artist is no exception, with a career that spans well over a decade, multiple releases on labels such as Offkey, Position Chrome, Ohm Resistance, Vampire, Perkussiv, MUTE:8, Synchronize, IM:LTD, Nocid Business, etc. Alongside a staggering slew of releases on his own “Surround Sound Recordings” label. This artist has been floating under the radar, churning out some of the most highly charged and innovative DnB to ever grace the dance floor.

So, without further ado, it is an absolute fucking privilege to introduce one of the most original and consistent artists in DnB. The mighty … Lethal.

GCB … Firstly, I hear you’ve just put the finishing touches to your first album. Can you tell us a bit about the concept behind the album, what made you decide to make an LP and could you put us all out of our misery and give us a rough idea of a release date?

LETHAL … Well it’s the first album I’m happy with as a complete project and it’s still being finalised, but it’s a good 95% there now. It’s called ‘The Sprawl’ so I’m sure the science fiction fans out there will know the concept, but it’s a loose soundtrack theme to bind it all together. It’s got a techno vibe throughout which I don’t expect will come as much of a surprise, but it takes in a lot of other influences too so should have a little something for everyone hopefully. I’ve wanted to complete an LP for a few years now but haven’t found the inspiration before to make the tracks work as a cohesive whole. Previous attempts have ended up just being a collection of tracks, where I just put the tracks out separately or ditched them completely. Release date wise I would say around June/July, just in time for our 5 year birthday. We have the next couple of releases scheduled for Surround Sound and then the LP will follow.

GCB … Ok, next up. You have a wife, a son, a full time job and probably a whole list of shit that comes above DnB when it comes to priorities. How do you find the time to be so consistent and regular with your output and can you give us an insight as to what “has to give” in order for you to maintain such a presence?

LETHAL … First thing is having a supportive wife, then it comes down to just using the opportunities you have to make music. I’d like to say I have a regular schedule and hit the studio x amount of times a week but life doesn’t work like that, so I get what I can. For me though my attitude goes back to when I ran a studio, I have this little part of me that still sees it like a job; time is money, get your head down and crack on! It makes you focus and I find I’m able to work on tunes quickly. I wouldn’t say much has to give, but it comes down to a choice; do I chill out and do whatever or do I fire up the studio, even if it’s only for an hour … That hour can be all you need sometimes.

GCB … A lot of artists in DnB spend a fair amount of time at various events “networking” … Or “ass kissing” as I like to refer to it. It’s clear you don’t fall into this category as you’re rarely seen unless you are booked. Do you think this reclusive nature and self-contained approach has had an impact on your career, bookings wise?

LETHAL … Reclusive sounds a bit extreme but some people probably see it like that. I guess this comes back a little to the last question, and if anything ‘had to give’ for me it was the going out to clubs, etc. but then as you said it’s about how you set your priorities, and like Renton I chose life … Seriously though I just never had time for the whole kissing arse to get somewhere, it works for some people (clearly) but DnB isn’t unique in that sense, it occurs in any industry. What does tickle me though is the shamelessness of some people these days, social media has put a whole other spin on things and it’s comical to see the public brown nosing going on. Networking in music is a necessary evil and it’s down to the individual how they go about it, yes my choices have had an impact on my music career but I never enjoyed the politics that goes along with it all. I’m happy now just doing my own thing.

GCB … Can you name 2 producers in DnB that you would like to collab with in the future and could you tell us a bit about why you rate them ?

LETHAL … That’s a tough one, I’ve been lucky enough to have some good collabs over the years. Off the bat I would say Prolix. I think Chris has consistently been putting out solid quality bangers for years. His productions always been on point, he’s a good DJ and an all-round decent guy. We spoke a couple of times in the past about working on something but unfortunately never found the time to make it happen. Second I would probably say Audio, I’ve always got time for his music. Again he’s been consistently putting out quality, well produced beats for years. Our paths have never really crossed but I have a lot of respect for him as a producer and would be interested to hear the outcome if we hit the studio.

GCB … You were a releasing artist on the legendary Offkey Recordings. Can you tell us a bit about your involvement in Offkey and give us a bit of an insight as to how you felt as an artist when it all seemed to come to an abrupt end?

LETHAL … Offkey was a great experience, being part of a collective and pushing a new sound. I say new, it wasn’t really new, techno inspired DnB has always been there but we definitely took a new approach. There was so much energy in those tracks, especially the early ones, it was about the vibe and not technical perfection. Most people will know that I was involved in running Offkey for a while, Raiden had asked myself and Ichi to become partners in the label. Unfortunately it didn’t work out, Chris and I had different approaches and we both had strong visions about how things could go. At the end of the day it was his label so I walked away from the management side. It all ended peacefully so there’s no big drama story there, but it’s a lesson in how two people with similar tastes and influences who got along couldn’t do business together. It’s a shame but that’s life. As far as how the label ended well I was sad to see the forum go, we’d built up a decent community around our music and it was great for promotion too. Overall I look back on it positively, I learnt a lot about myself from it, got to know some good people and it gave me the opportunity to set up Surround Sound.

GCB … You play a decent variation of DnB in your sets, including the odd Crossbreed track here and there. What are your thoughts on Crossbreed and do you think it has had a positive or negative impact on DnB?

LETHAL … Do people care that much about it? If you don’t like something, don’t listen to it. I think there’s bigger crimes against music in the world going on every Saturday evening on your TV, or just flicking through music channels. I play music I like and that I feel works in the set. Not saying I like Crossbreed as a rule, it’s not my thing really, but there’s the odd decent track. It is good to see artists like Gancher & Ruin and C-Netik doing well for themselves though, whatever the genre. Crossbreed evolved from a common fan base between the Freak, PC and Offkey camps. That generation had initially got into the harder DnB styles and then took it harder which for a lot of us, myself included, wasn’t where we came from or where we were trying to take the music. So some were offended and rejected it, some jumped on the bandwagon and others just carried on doing their thing regardless. Yes it’s had an impact, whether that’s positive or negative depends on your point of view.

GCB … You run your label “Surround Sound” with Able Danger. Can you tell us a bit about how you divide the workload and who’s responsible for what with regards to the label?

LETHAL … We split things pretty evenly to be honest for the day to day running of the label, managing the releases, artwork, website, etc. Mike picks up the majority of the social media and promotional stuff though. We both deal with the A&R side, we’ve been friends for at least 10 years now since we first met on Rude FM and I know I can trust Mike to sign good quality material. The business end of the label is my responsibility along with the overall direction. It’s good having someone to bounce ideas with, collaboration is helpful and works well as long as you have agreed responsibilities.

GCB … Can you name your top 3 tracks that you’ve produced and tell us why they’re you favourites?

LETHAL … First I would probably say Cannibal Holocaust, which was myself, Khanage and Submerged. That was a one day session, we were just chilling out, had the film on then rinsed it for samples and hit the studio hard! That track was all vibe and it was great working with Kurt for the first time. We managed to capture something deep and primal in that tune, people went nuts when we played it out. Getting released alongside Rise of the Beast on Obliterati too, along with other crazy tunes, that was just a sick EP … Good times!

Second would be Jawbreaker with Khanage on Offkey. I just think we achieved something unique sounding with that track. It encompassed so many influences and was just a tribal wall of sound with those thundering drums. It’s got loads of little touches in it so technically I was very proud of that track at the time. We had some really positive feedback from Techno artists too, even a remix from one, getting recognition from the scene we were taking our inspiration from was totally unexpected and felt great.

I could name a few more to be honest, but I’ll give joint third place to Storm Break which came out on Position Chrome and Circuit which is on Surround Sound. Storm Break is definitely one of my favourites, it’s just got everything I like in a tune. Circuit is just one of those tunes you can get a bit lost in, it’s not technically perfect but it’s got its own sound and whenever I hear it I really enjoy it.

GCB … You’ve released on a fair few labels in your time. Which labels (aside from Surround Sound) have treated you well and which ones would you recommend to other artists on a business level?

LETHAL … There’s been a few Ohm Resistance, Position Chrome, Melting Pot, Perkussiv and MUTE:8, I’m sure there’s some others too. I’ve been fortunate in that pretty much all the labels I’ve released with have treated me well, most labels these days will give you a contract which is something too. Let’s be real here you’re not going to earn a living from sales these days, unless your shifting seriously big numbers on a regular basis and with frequent releases. Yes artists need to be paid their dues but I think it’s more important that a label who commits to release something does so in a decent time frame, as an artist you can accept that you’re not going to earn big money from your music, that’s just how things are now but music should be released when planned and not sat on.

GCB … What’s the best event you’ve played at in the UK?

LETHAL … To be honest the events I’ve played at in the UK have rarely been as good as the parties in Europe, but the harder sounds were always much more popular abroad. So I couldn’t really say one specifically, a fairly recent good party was Tech:nology and Hardware at Area. It was me and Mike Able Danger back to back for the last set, the room was heaving and the vibe was sick. Well it was until they locked us off early to make way for the next party, but what can you do when the bouncers steam the booth!

GCB … If you could sign any 3 DnB artists to Surround Sound. Which ones would you sign and why?

LETHAL … I’m going to cop out a bit and not answer that question, not fully anyway. I could easily pick 3 artists who are established big names and whose music I like and enjoy, but that’s not the main reason why I set up Surround Sound. I like being able to give new artists who are making good music a release, it’s great when you come across someone new who grabs your attention. I would like to start signing some more artists making music other than DnB to be honest, that’s what I see long term for Surround Sound.

GCB … Over the years, a lot of new labels have emerged and sometimes the scene does seem a little saturated. Do you feel the sheer number of labels and artists has had an effect on the overall standard of music being released?

LETHAL … I think that most scenes are probably a little saturated now, the reduction in financial risk to release digital music means that just about anyone can have a pop at it if they have the nous to set up a label. Do I think it’s had an impact on the overall standard? My view is it’s more than just the volume of artists and labels that has an impact. Production values on average are probably higher than they’ve ever been as people have easy access (whether legally or illegally) to high quality production software. Combine that with the amount of free tutorials on YouTube, Vimeo, etc. there’s no surprise that production standards have increased. However for me I think a lot of originality is missing in people’s music, certainly a lot of demos we get sent at Surround Sound reflect that. So I think the standard of creativity overall has probably dropped a bit, and the volume of music makes it harder for the good stuff to stand out when so many ‘artists’ haven’t found their own sound and just copy others. Joe Bloggs in a club is probably quite happy listening to hours of clone music while they are off their nut though. It’s like that EDM top ten that was floating around a couple of months ago where every track had the same sounds with a slightly different arrangement, that’s not a unique occurrence and it’s happening everywhere.

GCB … Do you produce any other genres of music aside from DnB?

LETHAL … I make all sorts to be honest … I have an ongoing project with my good friend DJ Lok called ‘Breaking Saints’ where we cover Hip Hop, Breaks, Jungle and just about anything else. We just mash up samples and make fun music without setting ourselves any boundaries. We haven’t released any yet but we’ve done an albums worth of material that we will probably end up putting out as a free download or something. I’ve been finding my way with a solo Techno/Breaks project which I hope to start putting out some tracks from soon. Having been focused on the LP over the last year has meant sidelining it a bit, but news coming on that when it’s ready. There’s some other stuff in the pipeline that’s too early to give any details on yet, revisiting the old hardcore 91-92 sound though with a friend so expecting to have some fun with that.

GCB … What was your main motivation for setting up your own label and are you happy with what you’ve achieved so far?

LETHAL … I had always wanted a label of my own, it was on my list of ambitions from day one so as soon as the opportunity came along I grabbed it. I guess my motivation was being able to run it on my terms, not sitting on a tune for 12 months and sticking to release schedules. I’ve definitely fallen into the trap a few times of ‘signing’ tunes to labels only for them to never come out, by that time the tunes so old that it’s superseded in quality by your latest material so you don’t even want it to come out. I’m definitely happy overall with what’s been achieved with the label so far. Mike tallied it up the other week and we’ve released 89 tracks, my LP will take it over 100. Looking back we’ve released a good cross section of artists, Surround Sound will be 5 years old in June so that’s not bad going I think. If I had to do it again I would probably do some stuff differently but I regret nothing … Now let’s see where we’re at in 2019!

GCB … Do you have an external studio/dedicated room or are you stuck at home, cluttering up your dining room table, living in the constant fear that one day you’ll come home from work to find your son has used your monitor speaker bass cones as small “paddling pools” for his action figures ?

LETHAL … I was fortunate to have a proper soundproofed commercial studio for a good few years but nowadays it’s a small setup in the corner of the living room. It’s mad when I think how big my studio was for so long and how over the last 7-8 years it’s got smaller and smaller. Especially as plug-ins have got better, you can get a better sound now out of the box than you could do ten years ago. I would love to invest in some nice bits of kit again but just don’t have the spare cash or the space for them at the moment. My son has been taught to respect the studio space, although that didn’t stop him from popping a tweeter on my last monitors! He loves his music though, I can’t wait till he’s a bit older and can start teaching him about it properly.

GCB … You’ve been in the game a fairly long time. Do you think the scene in general has lost the sense of community that seemed to be present back in the day?

LETHAL … It’s easy to look back with rose tinted glasses and say “it was better in my day”, it’s a bit like the new Star Wars film that’s coming out. If you loved the original trilogy as a kid you want the new one to recapture that feeling. It won’t of course, we’ve grown up, had our experiences and are more prejudiced and cynical. I bet our kids will love it though, because they are innocent enough to be pulled into it. Probably not the best analogy in the world but DnB is a bit like that, we’ve all got older, wiser and have other priorities. So naturally we’re not going to be the community we once were, although I would bet money the younger newer artists and DJs probably feel differently about things.

GCB … Finally. What’s next for you in 2014 and where do you see yourself in 2015?

LETHAL … Well after the LP it would be nice to break my reclusive nature and get some DJ bookings rolling again. Production wise I want to prioritise some of the other projects, take a little break from DnB and enjoy making some other beats. I would like to take some time to think about moving the label in other musical directions too. Then it’s pushing the day job, the one that pays the bills, spending quality time with the family, the usual life stuff. As for 2015 well I’ll still be here doing what I’m doing, hopefully continuing to grow my own and the labels output. People can keep up to date by following me on the following links …

Twitter … @DanLethal

SoundCloud … soundcloud.com/lethal

Don’t forget to follow the label too 😉

Twitter … @SurroundSoundUK

Soundcloud … soundcloud.com/surroundsoundrecordings

GCB … I’d like to thank you for taking the time to chat to me today fella, much appreciated. I’d also like to wish you the best of luck with the album release.

I shall be reviewing the album in the not too distant future so keep them peepers peeled people.

Until next time … Peace.

iBANE_DNB

Artist Interview – MC Fokus

I’d be a liar if I told you I wasn’t fucking stoked about this interview. Sometimes in life, you get the chance to talk to someone you really rate as an artist and it can be difficult to be objective when, in reality, you’re a massive fan.

That aside, I plan to try and keep it as real as possible and get on with the task in hand, so, without further delay, it gives me great pleasure to introduce the legendary “truth seeker” himself … MC Fokus.

GCB … Firstly, thanks for taking the time to talk to me today. Secondly, I would like to personally congratulate you, as I hear on the grapevine that you’re about to be granted lifetime guest list to the most exclusive club in the world … Fatherhood … I wish you and family all the best for the future fella.

Pleasantries well and truly dealt with, lets get down to business.

Last year, or possibly the year before (if memory serves me correctly) you we’re nominated for “best newcomer MC” at the DnB Awards. Now its always nice to be nominated for any accolade and I think its awesome that people in the mainstream are finally noticing your talent and giving you the credit you deserve … But … Wasn’t it a bit odd being nominated for “best newcomer MC” when you’ve been killing it for 15 years or so ? … Could you tell me a bit about how you felt when you heard the news about the nomination ?

FOKUS …Wow, what an intro! Thanks for the kind words, truly appreciated. Yep, going to become a Dad any day now, exciting times. I’m pretty well versed in the art of sleep deprivation already, should be a doddle!

Regarding the DNBA Awards, it was back in 2012 when I was shortlisted for ‘Best Newcomer MC’. In all honesty, I didn’t read too much into it. It was cool to be in the runnings for an award, but it’s not really what I’m all about. I went to the awards ceremony and it wasn’t my cup of tea. Way too much schmoozing for my liking! The whole ‘Newcomer’ tag is understandable, I’ve never really moved in those mainstream circles, so people hear me on a track or the odd DNBTV set and think I’m brand new on the scene.  Look at the nominations from the last few years, Codebreaker, Strategy etc. These guys are vets as far as I’m concerned.  Just goes to show how hard it is to get recognised by the masses I guess.

GCB … Ok, next up. You spit some of the most truthful bars in DnB and you’re also quite technical when it comes to structure and delivery. You’ve made no secret of the fact (on twitter) that sometimes, you find the writing process difficult. Can you give us a bit of info on how you write, setting, conditions, concepts etc … And could you tell us why you find it a struggle sometimes ?

FOKUS …Truth is … I find writing quite challenging.  I love performing to a crowd, I love being in the rhyming zone when it’s almost an effortless flow of energy,  but actually WRITING, that’s not my strong point.  By my nature, I’m too critical. I over analyse the words on the page. My OCD tendencies don’t allow me to scribble ideas down, I have to write neat, perfect sentences. I hate crossing out!!  This makes it hard to really get creative.  I’m getting better though, but it involves a lot of effort and motivation, I’ve been using spider diagrams to brainstorm ideas, then pick the best bits out and build a few verses. I spend hours on it. I’m not a natural writer. My best lyrics come when I’m not trying, in the gym, driving to work. I have to remember the ideas until I can grab my phone or a pen. I’ve recently turned my loft into a recording space, so I generally go up there, put a track on loop on Cubase and start spitting. If I get a few rhymes that stick I’ll write them down and try to build from there. I’m always listening to other MC’s and thinking ‘How did they come up with that lyric, wow!’ I think if I surrounded myself with other creative people more often, I would probably write a lot more. I’ve always dreamt of being in a Wu-Tang style crew where everyone vibes off each other!! That’s why I rate the Manchester/Estate lot so much , they all work together. Being alone in a room with a paper & pen doesn’t excite me.

GCB … Can you name 3 MCs in the “darker/deeper” end of the DnB spectrum that inspire you and can you tell us a bit about why you rate them ?

FOKUS …Without a doubt, I would have to mention SP:MC. Hearing him for the first time had a huge impact on my approach to DnB. While he wasn’t the first to come with that slowed-down hosting style, he certainly laid down the blue print for a whole generation of other MCs. Check the clarity and power in his projection and the effortless delivery, always on point. I’ve had a lot of people over the years say that I’m an SP copy cat. I’ve spoken to SP directly about it. I’ve never denied that my style and voice is similar, but everyone is inspired by someone or something. Inspiration doesn’t equal imitation.   People naturally compare you to someone else that they already know.

Stapleton is also a big inspiration. He helped me get involved with Renegade Hardware and has always been a source of support and positivity. He’s not afraid to be himself and do his own thing, and I really respect that. In my eyes he is a true artist rather than an MC.

Finally, I would say DRS. The man’s work rate is truly inspiring. He always seems to be on the grind, churning out quality music across the spectrum. From the days of Good Looking & Broke n English, through to everything he’s doing with the rest of the Manchester squad, it’s always dope. I don’t know him personally, but he strikes me as someone who knows the value of hard work & effort and a positive mentality. All attributes of an inspirational character.

GCB … When I first saw you perform (over a decade ago, yeah we’re both cranky old bastards lol) you were doing a lot of gigs/bookings alongside MC Phantom. Over the last decade you’ve both had a decent amount of individual success in your respective areas of DnB. Why did you guys part ways and do you think you’ll ever team up again in the future ?

FOKUS … So we must be from the same area then? Myself & Phantom go way back. We played on the same pirates back in the day, and his brother Carl is part of DBR UK, who I’ve rolled with for years. I’ve got loads of respect for Phantom, he’s always been able to smack it over any type of DnB. Got some great memories of us going back to back over some murky beats. I don’t know if we’ll ever team up again, we seem to move in different circles these days, but I’d certainly be up for linking. Wayne is a pro and he’s probably got the loudest voice in DnB!

GCB … You’ve done a fair few features on tracks for several high profile artists and released on some very respectable labels. Out of these tracks, what’s your personal favourite and why ?

FOKUS … Has to be the ‘Horsementality’ track, which featured on Loxy & Ink’s album of the same name. Ink called me up and said he had a concept in mind. He wanted me to capture the Horseman vibe and summarise what the whole collective is all about. As a long-time Hardware/Horseman fan this was a real honour. DBR UK made it easy by serving up a dirty beat. I remember Ink playing it at Hardware in London, I went and stood in the middle of the dance floor. A very proud moment.

 GCB … Do you think you are paid what you’re worth for you craft, bookings wise ?

FOKUS …Yes and no. I would never complain about what I earn. It’s a privilege to get paid to MC. Especially when promoters fly you out to different countries and take you out for dinner and show you great hospitality. However, like you touched on in your last blog, the gap between what I earn and what the DJ I’m playing with earns is often quite big.  Especially when I sometimes play for three times as long. I think promoters definitely get their money’s worth when they book me! But I still miss out on gigs because the promoter books an MC who will play for half of what I charge.

GCB … Its not secret that you’re a massive “real ale” advocate. If you had to pick 1 as your last ever pint, which one would it be and why ?

FOKUS … Oakham Ales ‘Citra’. Why? … Just try it. Freshness in a glass.

GCB … What are you views on pilled up sweaty fuck boys approaching you and tying to spit bars in your ear whilst you’re trying to make your way to the stage ?

FOKUS … It’s cool. Let them do their thing. I’ve never done that myself, but I would never dis someone for wanting to be heard. However, interrupting me during a set is a no go. That’s where I draw the line and politeness has its limits.

GCB … You “earned your stripes” the old fashioned way. Do you think the internet has made it easier for new MC’s to earn theirs ?

FOKUS … I think it’s easier for MC’s to share their music and get in contact with people.  It’s debatable whether this counts as earning your stripes. Someone might sound amazing on their You Tube clip, but could flop when they’re in a dance in front of 500 people. The internet is a good thing, but I think the sheer volume of music available makes it somewhat more disposable. There are hundreds of internet radio stations about now.  You can broadcast from your bedroom. Years ago it was all about the pirates, which were not so easy to get on. Pirate radio was where you proved your worth. When I wanted to get on Renegade Hardware, I spent days putting together a demo CD. I then followed Clayton around The Fridge in Brixton, trying to find a moment to get his attention. I finally cornered him, not sure if he ever listened to the CD though.

GCB … Who is your favourite DJ to work with and why ?

FOKUS … I like working with people that I’m friends with, the connection is evident in the performance. I love MC’ing for Skeptical. Aside from the fact that his selection is excellent, we’re mates and that makes it work so much better. I’ve always been a big fan of Loxy, so working with him is also a privilege.

GCB … Be honest. Are you, or have you ever been a member of  CAMRA ?

FOKUS … I’m ashamed to say I’ve still not submitted my membership application.  Must do it this year.

GCB … Among the many studio mixes you’ve done over the years, the “deep rising” mix series with Lost Sequence was definitely up there with the best of them (imo). How did that come about and do you have any plans to do something similar in the future ?

FOKUS … I met Lost Sequence out in Switzerland, playing at a night called Dezibel (shout to Don Phillippo – still one of the best promoters in the game). I became good friends with Kenny, and we just kept In touch and worked on the series of mixes. I was all about the techy beats in those days. Spent ages recording the vocals in my bedroom, going in on loads of ad-libs and delays. Got plans to do some studio mixes later in the year for Dispatch, and I reckon me & Loxy will get something sorted as well.

GCB … Lets face it, no one on the planet is getting any younger. What age do you think is the right age for an MC to “call it a day” ? Are we still gonna be seeing you on stage at Hardware in 2030 ?

FOKUS …. Hahaa, if I’m still relevant and at the top of my game in 2030 then yeah!  I’d like to think I’ll always be involved with DnB in some shape or form, but I’d hate to be past my sell by date, trying to cling on to something that’s no longer there.  By 2030 there will surely be a new breed of MC’s that will put me to shame. The weird thing is, there have hardly been any new MC’s to emerge in the last few years, why is that?

 GCB … Probably because guys like you set the bar too high and they can’t keep up lol …

Next up. You have a 9-5 job. How do you find the “back to reality” transition on a Monday morning ?

FOKUS … It can be pretty hard.  You spend the weekend travelling around, enjoying the buzz of being on stage and living that lifestyle. Then boom! It’s Monday morning and I’m back in the office after a few hours sleep. People are discussing their weekends and they think it’s crazy that I’ve driven to Bristol and back just to MC for an hour. Last year I flew to Singapore to play on Friday night and I was back at my desk on Monday. That’s 26 hours of flying, my colleagues thought I was crazy! I sometimes feel like I’m living a double life, but I love both parts of it. I enjoy my job though, I couldn’t do DnB full-time.

GCB … Name 3 DnB producers you would like to collab with in the future ?

FOKUS … I feel like I’m already lucky enough to work with most of the people that I’m into. I’m doing stuff with Loxy, Gremlinz, Homemade Weapons, Skeptical.  That’s the sound that I love. Right now the future is looking good.

GCB … You mentioned an “8 hour – slow roast pork” dinner on twitter last week. Can I have the recipe ?

FOKUS … Mate it’s really simple. Good quality pork shoulder (got a great local butchers on the high street), marinated overnight with a dry rub of paprika, garlic flakes, onion salt. Give it a quick blast in a really hot oven to seal, then  reduce the heat to 120, cover with foil and slow roast for 8 hours. Every now and again I baste with some apple juice.  Perfect Sunday food.

GCB … Ok, if I fuck it up, I’ll be on the phone and straight round yours next Sunday lol …

Moving swiftly on. What’s your favourite event you’ve played at in the UK ?

FOKUS … I’d say that one of the most memorable would be the Farr Festival. It’s a local event with a real grass roots feel. Skeptical and I are residents Last year they had us, Spectrasoul, AlixPerez & DBridge all playing in middle of this clearing in the woods. It felt like being in an enchanted forest. We rolled out ‘til 5am, everyone dancing in shorts & t-shirts. Great memories.

GCB … When you collaborate with producers, is it just vocals you provide or do you ever have a hand in the actual production side of things ?

FOKUS … I mainly provide the vocals. I mix some of the vocals myself, it really depends on the producer. With Skeptical, it’s more of a joint effort. He’s on the buttons, but I have a lot of creative input on the track. For other collabs I’ll simply send the files and that’s my bit done.

GCB … What’s happening with the “full specification” podcast series ?

FOKUS … Not a great deal. I had plans to a lot more with the whole concept. More guest mixes and features. But I haven’t found the time or resources to do it properly, and I think right now, it’s not high on the priority list.

GCB … Do you feel you have reached your full potential as artist ?

FOKUS …That’s a definite NO. I often feel like there’s a part of me that’s holding back.  I’ve got plans and ideas, but haven’t yet executed them in the way I envisaged. I don’t really see myself as an artist, that sounds too fancy. I’m a guy that spits over beats and likes hyping up crowds. I’d be the first to admit I’m guilty of self-limiting behaviour. The day that I let my creativity override my thoughts, I’ll be unstoppable.

GCB … You’re one of the very few MC’s in DnB who can actually freestyle live.  Its clear you enjoy this area of Mc-ing and evidently its something you’re very comfortable with. Do you think more DnB MC’s should incorporate freestyling in a live setting ?

FOKUS … I do enjoy freestyling, and my best performances often come from being in that zone where you don’t need to think. The mood is right and the lyrics just come out.  That’s not to say that I’m an amazing freestyler, there’s plenty of guys in the hip hop scene that would piss all over me. It’s more of a feeling. Pre-written lyrics are restrictive, like a DJ that plans out their whole set before they even get to the club. Being spontaneous is exciting, and the crowd can feel it.

Should more DnB MC’s freestlye? Sure, if they can do a good job of it. Freestyle isn’t a licence to chat shit. Respect the art form.

GCB … We’ve touched on the subject that you’ve worked with some decent producers and featured on a number of tracks in recent years. Have you ever been compensated/paid by the labels for your efforts ?

FOKUS … Interesting question. Payments for the tracks I’ve featured on have ranged from zero to £100.00. It’s safe to say that, from my experience, there is very little money in it. It’s all good though. It’s a great way of raising your profile, and nothing beats hearing your tune in a club. I still get a buzz from that.

GCB … Finally, what are your plans for 2014 and where do you see yourself in 2015 ?

FOKUS … This year is all about learning to be a good father and concentrating on my family. That’s priority. On the music side of things, I have a project that I want to get stuck into. Hopefully by 2015 it will be ready to reveal, but I’m taking my time on it.  Expect to see some more releases featuring my vocals dropping later this year, I’m really excited about a track I’ve finished with Homemade Weapons called ‘Chrysalis’.

GCB … Its been an absolute pleasure talking to you today fella. I wish you all the best for the future, hopefully next time we can do this face to face over a couple of pints.

FOKUS … Mate I should be thanking you for being so proactive in putting this together, and coming up with some interesting and original questions. A pint sounds good … Just make sure it’s in a pub that serves decent real ale!

GCB … Naturally, can’t have you drinking Fosters now can we lol.

Thanks again fella, as usual, you’ve set a precedent with you words. I truly hope every other artist I interview can answer the questions with the same honesty and humility.

I hope the readers enjoy this interview as much as I have.

Until next time … Peace.

iBANE_DNB

Piracy … Have we become hypocrites ?

Lets face it, Piracy is absolutely everywhere. Its a global issue and no artist, label or genre is safe.

In legal terms, piracy is theft, plain and simple. If you have not paid for the product and are not in possession of a licence or legal document stating that you have permission to use said product, then by definition, you are a thief.

In an effort to bring some real honesty to this ongoing debate and hopefully encourage others to be honest when discussing their involvement in the future, I have decided to be completely open regarding my own practices.

I have NEVER downloaded from a torrent site, connected to or been part of an online file sharing/seeding network. My involvement in piracy consists of what an anti piracy team might call “receiving stolen goods”. I, like most people have a couple of hard drives, when my close friends come round, they bring their hard drives and pass me the things I’m interested in. Music, programs, samples, vst’s, films, documentaries, TV series, even operating systems, its all fair game.

Unfortunately for my friends, due to the fact that I don’t torrent or download anything new myself, on my hard drive I generally only have the older stuff that they gave me on previous visits and so the “supply chain” usually stops with me.

The one thing myself and my friends will NEVER share at all is “unreleased dubs”. There is a personal connection and level of trust involved when an artist sends you dubs and we are all very respectful of that connection. Myself and my friends don’t fuck about with people’s unreleased material, we’ll give each other the producers AIM, then its up to the individual to ask for the dub personally, if the producer concerned says no, the track goes no further and stays where it is. That’s pretty much the only practice that’s always been “off limits”.

So I’ll be straight with everyone and hold my hands up. I am guilty of listening to pirated music, watching pirated films, TV series and using pirated software that has been given to me by others.

For the record, with regards to this issue I feel I am just as culpable as the next man. I’m not excusing my actions at all, I’m explaining them.

I reckon 95% of people in DnB do the same, if not a lot worse, yet when you ask people about it or discuss it in any way, in most cases they will fiercely deny it and launch into a massive moral narrative about how much of a disgusting piece of shit you are. So with that in mind, with regards to this issue … Have we become hypocrites ?

Fundamentally, I think the vast majority of us are.

Think about it properly, how many of you out there have actually paid for every single piece of music you own ? … Can any of you producers out there honestly say that you have paid for and have receipts for every hi hat, kick drum, vocal sample, pad sample, bass note, every vst, plug-in or sequencer you’ve ever used in the production of your tracks ? … Can every label honestly say that they’ve paid every single artist, every single penny that they we’re rightly entitled to ? … Can every promoter say they’ve always paid out what was agreed with the artists on every single occasion ?

If the answer is “No” to any of these questions, then as far as I’m concerned you may as well be an actual fucking pirate with a hook and a parrot, because with regards to this debate, you don’t have a leg to stand on.

IMO, where the hypocricy begins is when people start moaning about their own tracks being pirated or when people just flat out deny that they have ever taken part in it.

I’ll give you a prime example of this hypocrisy. Recently, a well known producer came on Twitter and posted around 8-10 tweets ranting about people downloading his music for free, he accused these people of killing the scene and taking money directly out of his pockets. Which on the surface is a fair statement. About 6 hours later the same producer posted tweets about how he planned to spend his “rare Saturday off” catching up on a TV series that hadn’t even been broadcast in the UK yet, then he came online a couple of hours later to see if anyone could help him out with a “cheeky link/stream to the UFC fight”. Then, to top it all off, the very next day was asking for a link/stream to not 1, but 2 separate football matches.

Now to me, that shit is fucking priceless, pure comedy gold at its very best. Some people may try and argue the loose moral point that he was only stealing content from large corporations who could afford the financial loss. Others may even argue that in the specific example I’ve given, the person wasn’t posting about stealing music. It doesn’t matter what you’re stealing, who you’re stealing from or how much money they’ve got. Art is art, regardless of format, so legally its all the same offence … Theft.

IMO if you’re willing to steal anything from anyone in this life, then you have no right to complain or make a fuss when the same happens to you in return.

I have run co-founded and managed 2 labels in DnB, 1 of them is still very active and successful. Piracy was a daily concern and when we were able to prevent it or catch those responsible then we would always take action in an effort to protect our artists and our business. But that’s where it stopped. We never ranted or moaned about it and we certainly never took it personal. We saw it more as an occupational hazard. Yes that is a sad state of affairs, but its also a reality of the age we live in, plain and simple.

There is also some good to have come out of the piracy situation. Piracy has made artists and labels more creative and more innovative in their approach to selling music. Label art and design has vastly improved in quality. Marketing and packaging have also improved as artists and labels strive to provide a rounded product that will attract the paying customers to invest in their brands. These improvements are a clear sign that piracy has made the scene “up its game” with regards to the overall product and that can only be a good thing for the scene in the long term.

Please don’t get it twisted, in an ideal world this shit wouldn’t happen. In an ideal world we’d all be pressing 10’000 vinyls per release and collecting our money 3 months later, there would be very no piracy and everything would be tickety-fucking-boo. Sadly, those days are long gone, the world has moved on and music has moved with it. Technology has progressed at a geometric rate and piracy is an inevitable and unfortunate part of that progress.

If artists and labels are really committed to eradicating piracy, one viable solution would be to release ALL music for free, that way no one can steal it. The lost revenue could be recouped by increasing the amount the artist charges for bookings and performances. That may seem far fetched, but its a system that has worked well in other genres, so I see no reason why it wouldn’t work in DnB.

In closing, I think I can safely say that most of us don’t agree with the principal of piracy, but the harsh reality is that not that many people actually give a toss either way anymore. My main motivation for writing this piece was that I wanted certain people in this scene to be a bit more honest, come down off their fucking perch and stop moaning about shit that isn’t going to change anytime soon.

Until next time … Peace.

iBANE_DNB