Manchester bad man Mikey Don doesnt have the word Don in his name for nothing.  For those of you that don't know Mikey has been in the business of spinning for a long time. He was involved in the infancy of the UK hip hop scene as a member of the rap group Krispy 3 and has been a member of the Axis sound system crew since the 90s.  As well as all that he has had a long running show on Manchester station Unity Radio, which recently gained an FM licence.  This year he started a brand new night in Manchester which aims to bring back the Soundclash culture which was so big in Jamaica back in the day and also in England when people started building their own systems.   "Put Your Money Where Your Mouth Is" takes Manchester heavyweights and pits them against each other in a battle of Tuneage through a number of rounds to find out who is the best selecta.  We've already seen Rich Reason (Hit and Run) and Illum:Sphere (Hoya) clash each other and this month its time for veteran, unsung hero and friend of example DJ Pale to clash Metropolis head honcho Prophecy.


Here are the RULES & REGULATIONS of the clash that each dj MUST abide by :-

1) No dj can tell each other to ‘S*** Your M*****!’ – but a record/tune CAN say it!!!

2) No dj can playback a tune that has already been played during that individual clash. This mistake will mean that the dj forfeits the round where the mistake is made.

3) The winner of each night will be decided by a POINTS SYSTEM via the crowds reaction to how they played in each round – & where each round is worth ONE POINT.

4) The structure of each clash for each dj will be as follows:-
a) 2 x 15min rounds
b) 2 x 10 min rounds
c) 1 x 5 min round
d) 5 tunes each in the ‘TUNE FOR TUNE’ segment.

5) Any dj that breaks ANY of the rules will also lose ONE POINT!!

6) In the event of a TIE in points, there will be a SUDDEN DEATH round & this round will be decided by ONE EXTRA TUNE FOR TUNE EACH. (thus taking ‘Point 4d’ to 6 tunes!!)

So get down to Roadhouse on the 4th of February for some clashment.  Especially since this one is going to be an almighty clash.  The scene has been whispering about this one since it was announced. So don't miss it!!!

Check out the facebook event and group

FACEBOOK EVENT

FACEBOOK GROUP

In recent years, DJ Cabbie has firmly established himself as one of the leading producers in Drum & Bass in general, not just in the jump up genre that he famously dominates.  Having played all over the world and boasting a back catalogue of tunes released on the most prolific labels in the industry, his relentless and uncompromising sound is sure to be entertaining the dance floor masses for years to come. We caught up with Cabbie to talk about production and what he’s got planned for 2011.

Example: Happy New Year Cabbie! How was 2010 for you?

Cabbie: 2010 was a really great year, I’ve never been busier. I’ve done a lot of travelling too, to some really cool places around Europe and played at some raves in the UK that were seriously off the hook!

You’ve had releases on some of the most prolific labels in Drum & Bass. How does it feel becoming one of the most respected producers in the industry after so many years of hard work?
The time has flown by and to be where I am now is just a bonus. I don’t think of myself as any different than the next person, I just love what I’m doing and am really lucky to have got somewhere doing it. It feels totally amazing and I still love it like it was 1999!

 

Example: Has Drum & Bass always been a way of life for you? What do you reckon you’d be doing otherwise?

Cabbie: I’m really into cars and driving so maybe some sort of driving job. A rally driver, that would definitely be my next choice of job.

Example: You’ve got a great production team going with Blockhe4d. Why do you think you work so well together and what continues to get you back in the studio with him?

Cabbie: These guys are the daddies! I’m so privileged to be working with them. Uman and Vegas are my favourite people to work with, I’ve learnt so much last year working with them too, it really feels like such an honour being in the studio with them!

Example: What do you think about all of the technological advances in production and performance – CDJs, MP3s etc? Some people say vinyl is dead – what do you have to say about that?

Cabbie : Keep moving with the times is my motto. Music is music. People still own decks and will still buy vinyl so there’s a vinyl scene and an MP3 scene too, nothing long!

Example: If you could hold a rave anywhere in the world and with anyone on the line up (alive or dead), where would it be and who would be performing?

I’d love to do a pirate radio rave in Russia or a Sanctuary rave in Milton Keynes with Stevie Hyper D and MC Kendo. Standard!

Example: What’s happening with your label, Pollution Records at the moment?

Cabbie: The label is about to get a injection of energy this year, I’m going to work on the digital side and the vinyl version. Digital Pollution is definitely on the cards, DarkDark and Astroids 003 on vinyl are about to hit the shops late January.

Example: Being a Geezy from North Weezy (or North West London to all you non London dwelling folk), what do you love about London and why do you think it’s such an amazing place for Drum & Bass?

 

Cabbie : It’s the hub, the information centre. There’s always something to do here party wise and home to lots of different types of Drum & Bass to party to, definitely the one.

Example: What else would you like to accomplish in your career that you haven’t already?

 

Cabbie: Well DJ wise I would love to do Japan, Australia and Russia; and production wise a tune on Ram and Virus would be a serious goal. I’d also love to have a tune in the national charts, now that would be big.

Example: Do you have any advice can you offer for aspiring producers and DJs?

Cabbie: Keep doing what you’re doing, keep positive, believe in what you’re doing and try and be original.

Example: What’s in store for DJ Cabbie in 2011?

Cabbie: Lots of studio and hopefully lots of DJ gigs and the label.

Got to big up a few people too, Blockhe4d - Uman and Vegas, Origin , Majistrate , Ludegoo, Lok-i, Dushi and NW2's newest member, Maisey!

Pollution 003 will be in shops end of January.

Cabbie Facebook Page

I've wanted to feature an interview with Marina Faib, based in Moscow, since I first heard her "Worn Out Places" mix and enormous collaboration with Manchester local head Synkro on "Inhale" (Smokin Sessions 007) over a year and a half ago and finally we have it.  If you don't know about Faib her productions could easily be falsely labeled under that all too overused term Burialesque but theyre very different indeed.  Her huge atmospheric productions are literally hypnotic and deeply emotional (not that Burial's arent) something which you'll definitely appreciate if you take the time to listen to her worn out places mixes made up of around 95% her own tunes.  We caught up with her on AIM all the way from Russia to talk about how she got into making music who she listens to and what we can expect from her in the future...

EXAMPLE: How long have you been producing

Faib : My first experiments were in 2003 when I was 13 years old.. but my knowledge (in computer haha ) was too weak, my elder brother was my "teacher".  So it wasnt serious.. it was just for fun..
but I think .. from that time I understood that.. it's mine..

EXAMPLE:   Your sound is really unique what / who has influenced your music?

FAIB: Too many names in dubstep I would say burial, boxcutter, Scuba, Vex'd and Synkro but firstly I was into drum and bass from people like rawthang, concord dawn, c4c, sta and paul b, sunchase. Ive also taken a lot of influence from Neurofunk like noisia of course haha..) phace, misanthrop, spor. Right now im really into this new deep minimal wave of drumnbass like Alix Perez, Rockwell, Abstract Elements, Subwave and many more..

EXAMPLE:  How would you describe your sound ?

FAIB: hmmmmmmmm.. I dont think that music the music I make should be called "dubstep".. its not original.. not classic I know..  but it's just because I know theres "too much me" in my tunes.. something from 2step, something from drumnbass, something from my head .. just on 140 bpm (like in dubstep). Its experiments.. dark emotional experimental music over 140 bpm
with elements from other kinds of music

EXAMPLE: What have you got on the way in 2011 ?

FAIB: I really want to make music for films.. It always was my dream and still it is.. Its the main aim for me I think..

EXAMPLE : How is the dubstep / drum and bass  scene in Russia?

FAIB: hah.. Its very difficult to answer on this question.. because I hadnt possibility to travell around Russia too much. but here in Moscow where I live its very good I think. There are 2 my fav moscow promo groups: Steppin' session (drumnbass) and Capital bass (dubstep).. this guys know what they're doing. Its always too much fun at their parties;  good beautful people, cool sound system, artist and so on.. I always feel something like Im a member of a laaaaarge family when im coming to their party.. people are so open.. we feel that our hearts beating in same bpm..

EXAMPLE:   Can UK fans expect you over here anytime soon?

FAIB: I really want to come.. And I will I think.. in nearest yers. Ive got serious problems with travelling. because I study at a serious university and i havent possibility to leave Russia without special agreement beforehand. But I will! I promise and I believe I will come.  English language is like music to me. its like a magnet. Its sounds very beautiful .. seriously.. and I enjoy to listen how english people speak. hah.. I think sometime.. I will come and see/ by my own eyes this misty places influencing so many amazing producers and maybe I could understand the the real secret of dubstep atmosphere and why those sounds came from that place.

EXAMPLE: What  tunes can you not live without at the moment?

Bloc Party - Where Is Home (Burial Remix)
Synkro & Indigo - Guidance

Thanks a lot FAIB

FAIB ON SOUNDCLOUD

SBTRKT

Whilst on my travels through the internet one day I stumbled upon a song. This song made my ears feel nice and also made my hips want to do a little jiggle. This song was Nervous by SBTRKT.

Now this isn’t your normal producer who provides the “boooom tsssstt” or the “wob wob wobwobowb wob” this is more of a mellow sound but something that you can still have a boogie to.

But who is SBTRKT? They choose to be anonymous with their work, which is always interesting. I literally don’t even know where they’re from and I have spent a good couple of hours trying to find some biographical information about them, yet I failed.

Anyway, please enjoy some samples of their work here http://www.myspace.com/subtractone

As well as writing Example we also look at a lot of other blogs on the web.  There's so fucking many out there its a bit daunting setting out on a blog mission and every single one has got a blog roll with another 50 on. You just end up on a never ending trail of random stuff.  However that stuff is quite often pretty sick.  In the spirit of being spontaneous welcome to our brand new just this minute invented monthly column "A Bit Of Someone Else's Website".  This month I've chosen to bring you a piece from rantinnravin.wordpress.com.  It's basically a guy telling you bits from his life but just the good bits and written in a nice way.  Not like on facebook which is full of fucking bollocks written by people you once had maths with and now have 18 kids.  If you like this there's plenty more like it on the page.

Also thanks to "Bernard" for letting us share it with you.

"A BIT OF SOMEONE ELSE'S WEBSITE PART 1. The Kids Came To Me...

A couple of weeks ago the bird hands me a dodgy looking envelope that had been left outside our kitchen door.  ”What’s in it?” she asked me…..I don’t fucking know, you just this second handed it to me un-opened….is what I thought.  ”I’m not sure babe, let’s have a look shall we?”……is what I said.

I didn’t really call her “babe”.  I’m not a complete cunt.  She’s my Pwincess.

Anyway.  It wasn’t anthrax.  It was a pretty illegible note from a child.   It took me a couple of reads to understand what it was all about.   I’ll translate in-case you’re having trouble:

Dear Neighbour,

Me and my friend were wondering if you could open the shed because he pointed out it would make a perfect den, if you’re not using it.

From Fred.

P.S. My name is Laouerna (pronounced Lawana) and I have written this note on behalf of Fred.

So I guess I should point out that we have a nice little garden in the new gaff.  At the end of which we have a lovely shed.  I say shed.  As you can see from the picture, I think you’ll agree it’s more of a summer house.  I know what you’re all thinking.  A flat in Dalston and a summer house!? We’ve worked hard, what can I say.

I remember what it was like to be a young lad, and Fred’s mate is right, it would make a bloody brilliant den.  So, being the nice bloke that I am (and to butter the neighbours up for when the house warming happens…..I’m always thinking me).  I sent them this note to give them the green light:

I pinned it to the shed summer house door.  After about half an hour of it being there I realised that Fred’s mate probably hadn’t spoken to his parents about their plan.

A note from a 26 year old bloke with a beard, to a couple of young lads about hanging out with them in a shed and keeping secrets wouldn’t look too good…..the sinister cartoon with paedo eyebrows would probably just add fuel to the fire as well.

So before anyone could petrol bomb the flat I nipped down and added the “PLEASE CHECK THAT THIS IS OK WITH YOUR PARTENTS!!”*.  A smart move.

I checked back a couple of days later and this had been pinned up.  It’s amazing.  I like that his Mum has been through and made corrections and they’ve had a bit of Mum/Son banter.

On the back of the note there were some more grammar exercises.  I remember my Mum doing a similar thing with me when I was a boy.  Their was a good reason, as I’ve never had problems with the correct usage of they’re/there/their, not like my Brother & Sister, there always getting it wrong.

So we’ve made some friends.  Been neighbourly and got some beers. Granted they were Buds which doesn’t really count, but they’re alright to palm off to visitors innit.

They were playing out there last weekend with their diggers and stuff.  I was pretty jealous.

It made me realise that I’ve grown up too quickly.  I now live with a girl who will never want to play diggers.  Where did it all go wrong!?

I was going to take some pics but I think I’m running pretty close to the paedo line as it is.

RnR!

Many jungle heads will recognise the name Theory, the man that played a big role in the recurrence of jungle into the dnb scene. He created the ragga/jungle inspired Conquering Lion in 2006 and has had a number of releases since. Now, though, he has taken a harder, filthier edge on the classic 'ragga' sound creating a sort of ragga/tech fusion. His new EP, Solstice, demonstrates this perfectly.

This 4 track EP has 4 disgusting bangers on it, for those of you that prefer your dnb deep and dark, this one is definitely for you.

Babylon Dem opens up the EP, with a dark, atmospheric intro. The use of ragga vocals seems like an odd idea, but Theory has got it to work seamlessly. This one has a half time feel and with a tempo of around 170bpm feels real steppy and militant. Nice and dubby.

Next up on the EP is a tune called Weirdo's. Real heavy bass opens the tune up, as it drops into a half time, atmospheric stepper, much like Babylon Dem. Theory really has gone for the atmospheric dub feel on this EP.

Dirty Tricks, one of my personal favourites on the EP brings Theory's rough jungle sound that made him famous back to the EP. Real glitchy jungle breaks dominate the track along with a simple, stabby bassline. Dirty Tricks is sure to smash the dancefloor in many clubs across the country.

Finally, Rain On Me wraps up this 4 tracker, and brings it to an end beautifully, with a melodic, jazzy little number. Rolling drums keep the tune moving, whilst many layers of pads add a perfect, chilling element to it. This one is definitely needed to calm you down from the onslaught of the previous tracks, good thinking Theory …

Solstice EP spans the wide variety of sounds out there in the dnb world, but ultimately, doesn't forget it's roots.

Out now on Translation Recordings
www.translation-recordings.com
http://soundcloud.com/translationrecordings

Liverpool based Skanky Panky Records have blessed us with Mission; an acid trip that dives deep into the unknown voids of Milan, were oozing pools of Ragga, Glitch & Hop await lost travelers.

Milan based Memory 9 provides uniformed, heavy, glitched out bass madness, which is confidently embraced by Juakali, who delivers a unique and awesome Ragga vocal to get your head shaking. The release includes remixes by King Cannibal, Mochipet & SPR All-Stars.

In an era where everybody and my nan are asked to do a remix, and the end result is usually shit, I feel these tracks are worthy of the remix status. Each artist has carefully analysed, experimented and produced a new vision of Mission.

It takes a lot to impress me these days. The market has become saturated with straight up crap music, so it’s nice to see through the mountains of shit, the gems still shine!

Memory 9 is out on the 17th January

Memory 9 soundcloud

http://skankypankyrecords.com/

http://www.memory9.net/

Introducing Exone 6 with new talent Justin Nabbs.

Newcomer Justin Nabbs and Exercise One open up 2011 with an intelligent showcase of tech-house groves with a funked twist. Both record heads of Exone and producers, Exercise One have been making waves in the Berlin-Based techno plethoria since 2004. The first release of 2011 nicely sums up the experimentation and refinement of the industrial and heady techno sound as we enjoy it in the present.
knife fight. A clean tech-house tune of digi-acoustic form. Justin Nabb's debut release sets forth across the dance floors a treat of high-end production skills. Bringing forth a rush of drums underlining the flow and layered digitally over is a classically inspired techno drumming pulse, carefully accelerated together with a club focused like-ability.
Exercise One steps through in the remix with an alternate twist, progressing the tempo, bleeping out cosmic sounds and flowing it with a signature understated groove.  
Meanwhile Pillow Fight takes you through the more whimsical underbelly of the minimal-tech sounds. Rippled synths and escalated bass lines create a playful, space-inducing audible enjoyment.

An all round exciting and formidable debut from Justin Nabbs, released 25th January.

Mosaic LP Vol 1

 When it was announced that the hugely influential drum & bass producer dBridge was gearing up to release a long player compiling a number of up and coming and established artists alongside some new tracks of his own, we at Example could barely hide our excitement. Read on for the lowdown on this landmark release and our interview with the Exit Records Boss himself!

 Mosaic Volume 1 is a various artist project that showcases some of the scenes leading lights and represents the experimental side of drum and bass. Musically, it is likely to appeal to fans of Marcus Intalex’s highly acclaimed DAT compilations, Temah, and the massively successful Autonomic podcasts and club nights. The level of quality control is faultless with dBridge carefully pulling together 22 tracks, the results of which are truly breath taking.

One thing (intentional or not) that becomes apparent early on is that this record is one of contrast; opposing qualities and ideals lay side by side but rarely in conflict. Mosaic takes the very best aspects of the jungle/dnb and electronica of bygone days and fuses it with today’s production values and delivers something that sounds positively futuristic. The collection features everything from the bleakest of soundscapes to intense, pounding electronic rhythms and mixes organic sounding instruments alongside robotic beats, synths and glitches.

With so many quality tracks it’s difficult to pick favourites and with every listen you discover something new but some of the standout moments include Croms' eerie sci-fi gem ‘invisible Cities’ which called to mind of some of the great soundtrack scores written in the early days of synthesizers, dubstep pioneer Skreams ‘Motorway’ which at time feels like a stomping 2010 reworking of Kraftwerks Autobahn (no, really!) and Instra:mental’s ‘Scene 3’

Which simply must be heard over a decent system, it’s not for the faint hearted though so you have been warned. As you might expect dBridge’s contributions are rather special as you might expect and do nothing but back up his already revered status as one of the innovators and protectors of intelligent drum and bass music.Also check out Manchesters own Indigo whose track ‘Time’ blends snappy drums with dubby echo box vocals and atmospherics and his sometime partner in crime Synkro who comes correct with a beautiful musical track recapturing the vibe of some of the best 90s ambient electronica - both continue to do the city (and themselves) very proud indeed.

 

Mosaic is a quality release that embodies much of what is exciting in drum and bass today, the tracks are well constructed and continue to grow over time meaning that this is probably going to be one of those records you can return to again and again.

We caught up with man behind the project and head honcho of Exit Records dBridge to talk studios, music, Mosaic and more…

 
 

Example: What's new with you?

dBridge: New toys in my studio, synths and an MPC, so fun times

Example:  So how did the Mosaic LP come about?

dBridge: It came about because I was being sent tracks I wanted to sign as 12" but at the time they were mainly just one side and I was waiting on the artists to complete their 12". So I had a load of really good tracks by different artist in a playlist on my computer and as I listened to them it came apparent that they'd work together as part of a compilation. It also dawned on me that there wasn't really anyone catering for this style of electronica compilations anymore.

Example:  Is there an underlying ethos to what you do as dBridge and also with the label Exit?

dBridge: It has to have soul, I have to genuinely feel the artist within their music. To much music is paint by numbers and devoid of life, what I loved about DnB was the passion I could feel within it, that was lost for a while but thankfully I've found people who have a real love for what they're doing and that shines through with the music they make

 Example:  Have your feelings for drum and bass changed over the years?

dBridge: I think like any relationship you have your ups and downs. I've been loved by it, I've felt cheated on, I've wanted to split up and find another, but no matter what I always come back. It's too big a part of my life. It's looked after me in so many ways.

Example: How have you managed to stay at the cutting edge of the scene for so long?

dBridge: I'm glad you think I have. I think the secret is to keep yourself interested. I know I've alienated fans over the years with the way I've changed but that’s a risk I take. If I didn't try new things and push myself I'd feel stuck and bored. I think a quote by Oscar Wilde sums up how I feel "Consistency is the last refuge of the unimaginative."

 

Example:  If you had to choose one… DJ, producer or label boss?

dBridge: Producer

Example: What gear do you use in the studio these days?

 

dBridge:I use a mixture of things, Logic is my front end sequencer, but I also use Ableton, Maschine and now I have an MPC, I also use outboard synths, at last count I have 21.

Example: Has your process changed much?

dBridge: I think it has, as I said I like to continually evolve, I try to learn new things, I'm forced to with every new synth I buy, they all have there own unique way of working which I have to learn. Throughout all of this though is a core which is hopefully uniquely me.

Example:  What achievement are you most proud of?

dBridge: Hard to say but I'm very proud of a song I did called The Hills which was on my brothers album (Steve Spacek) Space Shit, the reason being it appeared alongside a J Dilla track. Along with my brother he's my musical idol

 

Example:  What's with the singing?

dBridge:  I've always dabbled but never really had the confidence to do it on a song. It was talking to Calibre and listening to him sing on his songs that gave me the confidence to do it more. So I'm giving it a go and again it's something new to learn and keep me interested.

Example:  You have a pretty strong online presence, how do you feel about the web and social networking?

dBridge:  It's something you have to get involved with in some way or another. It can be a nightmare trying to cover all the bases. It clearly is the only way to reach your audience but I do feel some people get it wrong and oversaturate, I try to base my presence on the same way I consume information online, as I'm a punter too.

Example: What excites you outside of music?

dBridge:  I'm a fan of the arts as a whole so that and travel are what excite me

Example:  Any closing words?

dBridge:  Keep an open ear, you never know what you might hear.....

‘The art of being a slave is to rule one’s master’

With the name Lucy, don’t be fooled into thinking you’re letting yourself in for something sweet and innocent; all of the things that this album isn’t. This debut album from Berlin based DJ and producer Luca Mortellaro is a dark and brooding piece of work, which leaves an imprint in the room well after the last track has finished. It is also the first full-length release from Lucy’s label Stroboscopic Artefacts. You can tell from the pace of the album that each track has been painstakingly considered and recalculated, with a moody build up of tension, broken every so often with a powerful techno kick .

Here are my stand-out tracks.

bein – The third track gets the tempo of the album going after a very steady and atmospheric start. The sound is pretty exotic, with a syncopated kick giving the track a slight buoyancy to juxtapose its dark mood.

gas – Following straight on from bein, gas is one of the dubbier tracks on the album. Here Lucy has used vocal samples of a speech by Le Corbusier, a famous architect, designer and urbanist. These slivers of ideas about light, dark, and space are perfectly set against the unsettling background of the track.

ter – The final track on the album is the perfect finish to an insight of an hour of what Lucy is about. It’s a reflective track with drums teasing to take it further throughout. For a few seconds halfway through, everything but the percussion falls away, the beat intensifies, and you wonder if the track is about to explode and go mental. But then – it doesn’t. And that’s not a bad thing. As quickly as the moment came, it went, and it fades back into an ambient chill.
I wouldn’t want to hear some of these tracks in a club; that’s not what they’re made for. But I was certainly intrigued by the 60 minutes of deep, dub-filled techno that Lucy presents here, and it is persuasion enough to ensure I’ll be catching him on his next Berlin date.

WORDPLAY FOR WORKING BEES IS OUT 4/3/2011

Johnny Beverton is the latest signing from our friends at Translation Recordings in the US.  Hes been making tunes for a while and has got a string of releases coming up this year in a number of different genres.  Its safe to say the man has a few strings to his musical bow.  We caught up with him to find out how his signings have come about  how he works in the studio and a load of other stuff.

Example: Both of these tracks are outstanding and well done on this release, Big things indeed! How did you get involved with Translation Recordings ?

Johnny: Thanks, glad you're feeling the release. I got involved with Translation via a good friend of mine, LM1 who runs a label called Offworld Recordings. I'd just started a couple of new tunes on a different vibe to what I was previously doing and the reactions I was getting were really positive. I was discussing tunes with him for a release on Offworld when he mentioned that he’d given Brian my email - next thing I’m talking about music with him, sending him music and these two tracks were the standout ones for him!   

Example: How did you get involved with production? Was it through the love of DJ'ing at all? Or did it just come naturally to you?

Johnny: I became involved in production via university - I was actually studying a classical music degree but a module on sound and field recording really opened my eyes (and ears) into the power of sound manipulation. I guess I found it fascinating that making music that was musically interesting was so different to making stuff that was sonically interesting! Combining the two was my next goal...

Example:  How would you describe your music to people?

Johnny: I’m not going to over complicate it - this release is drum & bass. Tonedab was made with a specific aim to achieve (destruction!) but I’d hope that the musical intricacies in Polymol would attract a listener to think beyond the regular linear structure of drum & bass.

Example:  I know a lot of young and new producers out there would be interested in knowing whether you use Hardware or Software to make your music with. Is there any insight to this? I know a lot of us would like to know.

Johnny:  I’m a software guy - not only from a cost perspective (VSTs are cheaper!) - call it a sign of our digital generation but I quite like the cold sound you can achieve from lining up software synths. I only use one VST to get pretty much all my sounds (aside from the drums, and even some of them are made with synthesis) so it helps to be able to line up 15+ copies of the same VST

and not have to be fiddling with wires!

Also I like the control that you’re given with sequencers - I’m running an old rusty version of Cubase but it does the trick for me! Changing textures are easily done through automation and I love the way that Cubase, Logic et al visualise this.

Example:  Would you say that you have been influenced by any other music at all, outside of Drum n' Bass? Anybody in particular you would like to mention?

Johnny: I’d definitely say my music is influenced by ambient music - the likes of The Black Dog, Stars Of The Lid, BVdub and others play a large part, although you may not hear it. Otherwise during the day I don’t tend to listen to much drum & bass, as it’s frowned upon in the office!

Example:  Are you going to be collaborating with anyone in the future and If you could collaborate with anyone, who would it be?

Johnny:  I’m in quite a few talks about some collaborations (although they largely remain outside of Drum & Bass) - but do watch this space!

I’d love to collaborate with some of my heroes in the UK scene at the moment - the likes of Space Dimension Controller, James Blake and Ramadanman are really opening my ears to new sounds.

Example:  Do you have any other projects on the go at the moment?

Johnny:  Indeed - I’ve got a release forthcoming on Broken Audio and I’m in talks with Translation about a release outside of Drum & Bass. I also have some Future Garage tunes that will be seeing a release soon - so keep an eye on my Soundcloud.

On a different tangent altogether I’m talking with a good friend who goes under the name of Val-d'Isére about taking some of his incredible music and turning it into a project. Check his tune ‘Pinpoint’, it’s ace!

Example:  What's your ultimate direction, the reason behind making music?

Johnny:  This is a toughie - who wouldn’t say their ultimate reason behind music is to make people happy (and in my case, dance around a lot). Wouldn’t mind making enough from it to pay my rent as well!

Example:  Where have you performed? and do you have any upcoming shows?

Johnny:  I’ve performed at all kinds of random places, from pool parties in Ibiza to a manky warehouse rave... I’m playing at The Gramaphone in Aldgate this Thursday for my friends night called Shhhed (http://shhhed.com) - I met these guys when they were throwing a party at The Big Chill and they sure know how to do things right!

 

Example:  Who else would you recommend at the moment and who do you think will be breaking through into the Drum & Bass scene in the future? Anyone in particular you would like to mention?

Johnny:  I got switched on to the sounds of a dude called Er.ic from Stunna’s GreenRoom show on Bassdrive (check it out!).

Aside from that I’ve been a big fan of HLZ since I first heard his music (I’m still waiting on a release from him of a dub I’ve got that was meant to come out ages ago!) Sabre switched me onto another guy called ENA (from Tokyo I think?) who’s got an interesting take on music too.

You’ve just reminded me that I need to have a look through my AIM folder!

Example:  Pineapple on pizza? What are your views on this?

Johnny:  Rock on!!

Example:  Any last words? Anyone you want to shout out to?

Johnny:  Thanks for the support and keep an eye out - I’ve kicked myself into shape and am setting myself up with lots of gigs!

Big shouts out to all of the crew on AVR radio who put up with my foolishness on my radio show (Sunday afternoons will never be the same again), the labels who are keeping things real in the scene and those who are doing their best to push things forward... in and outside of Drum & Bass!

Example:  Thanks for your time here Johnny, we wish you all the luck with the release and for your future!

Johnny:  Pleasure! Cheers for having me :-)

 

SOUNDCLOUD 

After a string of early releases in 2006/07 on seminal label HotFlush, Gravious pulls out a debut EP for Saigon Recordings. After being responsible for the recent exposure of artists such as Orphan101 & Duffstep, Saigon continue to carve out a roster to be proud of. Making a stance in the post garage/dubstep arena the EP has a distinct flavour throughout.

Kicking things of with 'Junction City', the ever familiar rave stabs and 808 State style pads lay the foundation. A homage to the 90's, the opening track gives a nice introduction to the EP.

'Lodestone' takes things a little higher and ethereal. Space-like arpeggiated pads set the atmosphere and take you on a flowing journey of syncopated rhythm. A heavy dub influenced bass line carries the track steadily along.

'Lunar Module' finishes off the 12" with a heavy influence from the likes of Aphex Twin. Wavering synths and spacey atmosphere.

To round off the whole EP it sets it self in the middle ground between techno, garage & acid house. Upbeat and spacious tracks with a driving backbone that would give any soundsystem a run for its reputation. The Junction City EP is out on Saigon Recordings 31/1/2011

      The latest collaboration from sibling super group Nu:Logic, brothers Dan and Matt Gresham (Nu:Tone and Logisitics respectively) release their first EP New Technique on Hospital Records. Established producers in their own right, the Cambridge duo have joined forces to create a four track EP offering drum and bass fans something a little different.

The EP opens with the title track, New Technique, a soft vocal and synth mixture creating a false sense of calm and tranquillity generally expected from Hospital Records. Whatever expectations and assumptions you have of this tune from the introduction are savagely upturned at around a minute in with an unexpected Jungle drop. The result is reverberating bass lines and floor shaking duttyness whilst maintaining enveloping synths and vocals. The rhythmic and pulsating drums reinforce this tune as an old school jungle riddim with a new school twist, and demonstrates the Greshams’ genius and creativity at production.

Bigfoot is the next tune and is exactly that, a big foot skanking track guaranteed to keep ravers satisfied until the early hours. Once again providing a misleading intro with atmospheric synths and elements of that funky jazz melody that Hospital is famous for, the tune soon unleashes the filthy bass beast upon unsuspecting listeners. You can almost visualise the fabled creature himself brocking out to this one with the juxtaposition of the sweet pretty sounds alongside a wobbling, drilling bass working brilliantly to create a floor filling, shape throwing masterpiece. By far the heaviest and best track on the EP.

The penultimate Sundown begins with guitar riffs conjuring images of 90’s road trip movies (think Thelma and Louise) in a vast desert sounding slightly out of place and unexpected on a drum and bass track but this seems to work well. It’s deeply atmospheric and piercing in the build up to the complicated drum patterns, which are at times distracted and frantic. Sundown can be difficult to listen to at first but several listens later you will realise it’s certainly a digitally mastered tune and extremely well put together.

    The last track on New Technique is Relentless, a stripped back and basic composition in comparison to the previous three offerings but in no way is that to be taken as a negative thing. Sporadic vocal samples add a little more depth and dark, jazzy synths come into play at around 1.30 making this a desirable tune for any DJ on the graveyard set at a club. Relentlessly rhythmic and rolling with elements of the scientific about it, the aptly named Relentless is perfect to round off this debut EP. Showcasing exactly why they’re regarded as Hospital royalty, Nu:Logic do not disappoint with New Technique delivering four brilliant tracks in their own right and leaving listeners eagerly awaiting more.

You can buy the Nu:Logic Technique EP here...

USA based label Translation Recordings has been friends with Example for a while now. We thought it was about time we caught up with the label head honcho Birian Roguestate. 

Example:   First of all Brian, What was the idea behind Translation Recordings , The inspiration behind it all? How did it all get started?

Brian: Translation was started in the summer of 2004 and was initially a venture between me, and my good friend Will, who I’ve known since grade school.  His work at ESL Music has led him to pursue other genres of music, so on most days it’s just me behind the scenes, with significant promotional help from Steph MsDisdain.  The ethos behind the label is fairly straight forward—to release music with depth and character, suitable for all listening environments.  The inspiration behind the label really just stems from an undying love for all things drum&bass and a desire to be more than a passive listener.

Example: You've just released an EP by Theory and the first release from your new find Johnny Beverton how did you come across him? Do you have any tips for budding producers wanting to get their music heard by yourself?

 

Brian: LM1 from Offworld Recordings first introduced me to Johnny, and I think what really sealed the deal for me was his love of other genres of music.  When you listen to one of his tracks, you can really tell that his influences come from outside the drum&bass scene, which is always a good look. As a budding producer it’s important to stay consistent, be patient, and spend time on the details—taking the extra bit of time to sample or tweak your mixdown can really make your music stand out.

 
Example: What style of Drum n' Bass gets your attention the most? Is there any particular style you are more interested in hearing?

Brian: There really isn’t any particular style of drum&bass that gets our attention.  It’s all about whether or not a song “sticks.”  Sometimes it’s instantaneous, but others take time.  I’ll play tunes out in a variety of places and settings—like Bassdrive, or on a pair of headphones, off a theater system, or in the car… if it sticks over a period of a time, meaning if the energy behind the tune can be felt consistently on every rewind, then its game on.
 

 Example: Who else is on the Label, that we all need to know about?

 
Brian:  We’ve got six vinyl and eight digital releases out.  Our first LP “Without Borders” dropped this year featuring music from ASC, Mindmapper, DBR (UK), Marginal, Dub Phizix, Edward Oberon, Grimm & Nusense, Stranjah, Theory, Resound, Slider & Expose, and we’re really excited at the response it got on CD and digital distro—thanks for all the promotional support when we rolled that out in July/August.  Additionally, Sabre's remix of Resound's "Secrets" really set off a new theme for Translation's sound. We're also so stoked to have remixes lined up for the near future so stay tuned!

Example: What are your plans for 2011?

 
Brian: We’re beginning to gather tracks for our next LP/CD project, have remixes from Survival and Seba slated for vinyl, and are increasing the digital release schedule for 2011.  Expect to see more from the likes of our newer signings including tunes from Johnny Beverton, Nuage, DBR (UK), Jaybee, Flatliners, as well as newer sounds from our veteran producers Theory and Resound.  

Example:  Who else can you see breaking through in 2011 with their music? Anybody in particular you would like to mention?

 Brian :  First off, we want to thank every person that has contributed to Translation Recordings - the talent we've encountered and the soul we've felt behind every one of the tunes in our catalogue is what keeps us doing what we love to do:  promoting sweet sound.  Look out for great music coming from Mindmapper, Furi Anga, June Miller among tons of others.  We're excited to see where drum 'n bass goes in 2011.  

Example: Anything else you would like to add or promote?
 
How to get to us:
www.translation-recordings.com (join our mailing list)
www.soundcloud.com/translationrecordings
www.facebook.com/translationrecordings
www.twitter.com/translationrecs
 
And check out MsDisdain and I on Translation Sound (www.bassdrive.com) every Monday from 7-8pm (EST) / 12-am (UK).  Love to the chat room kru!
 

Example: The big question on a lot of peoples lips right now is, what are your opinions on the whole Vinyl, Digital debate as the whole music scene is going through a lot of rapid changes at the moment? Can you see Vinyl lasting another 10 years?

Brian: Vinyl will always have its timeless place in the scene—particularly with the diehards—and I’m personally a fan of having a physical product (not to mention I'm a vinyl junkie), but you definitely can’t ignore the increasing shift towards digital.  However, regardless of the platform, the tunes have to stand out, the promotion has to be there, and the timing between releases has to be just right.  Vinyl will always be here, but who knows what things will look like in a decade's time.

Example: Fishnets or Stockings?

Brian:  Haha, joker… I’ll get back to you on that (MsDisdain says Fishnets).  Thanks and bigup [Ex]:ample fam!

"Everyone deserves a second chance"

 Harri Georgiou is a metamorphosis in his own right; both in his personal struggles and in his expression as an artist. Now at the age of 19 he has, by his own admission, overcome his personal battles.

 Based between Stoke and Leicester, where he’s studying for a Music Technology and Innovation Degree at The De Montford University, Harri Gee is an artist and a producer of electronic house music and is closing 2010 with a bang.  Having been writing music since the age of 14, he upholds a strong sense of self-belief and says: “If you apply yourself, you can become whatever you want be.

Conversely, school life had not always gone to plan for Harri. Having been labelled by friends as the class clown and as far to say a teacher’s worst nightmare, Harri was expelled weeks before his exams.  “If I did try to behave, teachers would still have no time for me and knock me back, in which case it gave me no reason to want to get my head down and behave.”Says Harri.

He added: “I managed to scrape just 2 GCSE’s; I thought to myself, the real world was now here.” While Harri was at School, he was interested in a music technology course.  Teachers would regularly tell Harri he had no chance of getting on the course and that he’d become a nobody.

Despite their negativity, Harri had a growing number of accomplishments under his belt, ranging from Love Music Hate Racism concerts, hundreds of studio sets and had been working very closely with local music youth centre’s outside of school to teach youngsters how to write lyrics and to produce music.

 As privileged as he was, his aim was to change the attitude of the kids and to be their motivator.   “I found it to be incredibly refreshing and funny to see my old self in the guys who I worked with.”  Disregarding his teacher’s initial comments made Harri even more focused in pursuing his dream of becoming a signed artist, as he took his work to the induction of the music technology course.

 “I could feel Pieces of my dream starting to form together whilst studying for the B tech National Diploma at Newcastle-under-Lyme College.”  Harri wasn’t afraid in admitting to being a little intimidated during his course of study; Observing from teachers who he described as some of the industries finest.

 “Learning from them was a real privilege, it made me appreciate the small things in life and before I knew it, my overall attitude started to change.” On nearing the end of his time at College, the prospect of obtaining a place at one of the best music universities in the country was put in front of Harri.  “University had never been the plan, but with the opportunity in front of me I thought why not?”

Harri proudly accepted an offer at The De Montford University in Leicester, which specializes in all forms of music technology, which he feels has helped better himself as a musician, technically speaking.  Using what Harri had learnt from the course and convincing his supportive parents to buy him a laptop and music software, he started to produce more different genres of music, mainly house, dance and commercial pop which he says he is comfortable with; This leading to the release of his first published CD, Spotlight, a trademark peak in his career. Harri Quotes:

 “I organised a meeting with local music shop, Head Store who agreed to stock my CD. “It’s a pretty reflective album. I now had my CD on sale in a shop and felt I could be taken more seriously as an artist.”

Now with the amplification of the drum n bass scene, Harri's forte in his live performances and fast-track lyric writing are being put to the test.  Harry quotes, “I’m comfortable with making many genres of music, mainly house, dance, commercial pop and drum and bass. “I’m quite versatile when it comes to producing and I’m always willing to step out of my comfort zone in order to create a slightly different sound.”

 Now, halfway to nearing the end of his degree, Harri reveals his hunger for fresh sounds have inspired him to start his own record Label, Dub Vandal Records, which he claims is a chance for him and fellow artists to release music to a wider spectrum of audience.  The independent label, based in Leicester specializes in music production and promotion, holding name to artists including Idris Jones, Griftz and Immortal.

Harri says: “The label is expanding as we speak.”  In terms of producing, he’s been writing music since the age of 12, and now creates all his tracks from scratch using all his own software and vocals. Drawing insight from Calvin Harris, who like Harri produces all his own music, enthuses his appetite for writing new tracks, which have often left him submerged.  “His music's amazing and motivates me, but also the fact that he produced his first album in his bedroom, my new single was also recorded in my bedroom,” he added.

 “I find it a real inspiration that his club hit, Acceptable in the 80’s, could be made with such minimal facilities.”  The past 2 years have seen Harri create more commercial releases, collaborating with companion and rapper Idris Jones. Having established as a household name in the drum and bass scene, it seems every club wants a piece of the Duos entrancing lyrics and hard cut beat. As a visionary release, the pairs accompaniment with Beatmunga, created a track called lose Control, which has pioneered Harri's sound.

Lyrically, the song is more focused and self-expressive than past releases says Harri. “It speaks volumes to me.”  The songs triumph, led to an opportunity to have a music video made.  “We shot the video about 3 weeks ago and the track is going to be an official single release; we are still in debate with music channels as we speak as to what channels the video will be broadcast on. Watch this space”

 Harri admits to finding it tough over the years when coming to build a name for himself, tending to over speed his music.  “I’ve had to learn to slow down the invention and admit to myself when a track isn’t fully up to scratch. It’s all about growing with a track.”  Harri places a lot of importance on the extreme emotional content felt within his lyrics and his proudest moment came when he won MC of the year award back in 2009, and not forgetting the fact he’s also had 9 BBC plays 9 weeks simultaneously on theSubculture channel.

"The past two years have been non stop. Juggling between a full-time education, producing new sounds and endless nights of gigging, I've loved every minute of it.  It seems audiences have united in force for admiration of Harris performances and song writing skills at some of the hottest clubs and venues to date.  Taking centre stage at popular attractions around Stoke-on-Trent including Zenn Nightclub, Touch, JFK, and has headlined several charity events for the likes of The Donna Louise Trust.

 Harris puts some of his success due to the invention of social networking sites. Pages on Facebook and Myspace have meant Harri can reach out to a wider audience span all over the UK. He says: “I take full advantage of networking.” It looks as though the prospect of Harris career is as every bit captivating as is his enthusiasm for composition.

“I take music very seriously and won’t stop until I’m an established artist making my mark on music forever.”

  This summer I realised a long held desire to travel to India, not only to explore the country as a tourist, but also to get involved with a charitable organisation. As a student of Town and Country Planning I am aware of the huge difficulties facing less economically developed countries in the coming decades and the implications this will have on global sustainability. I was therefore interested to go and see for myself a country that is mirroring the kind of development occurring in the UK during the industrial revolution, on a much larger scale.

 On a personal level I also wanted to take in for myself the poverty and suffering we are all made aware of on television campaigns and news stories, which rarely have enough direct impact on our lives to feel “real”. As I grow older and learn more about the world I have become aware of the extent to which my upbringing has been sheltered and privileged. I wanted to gain a better appreciation of the vast chasm that is the global gap between rich and poor.

 I made arrangements to spend the first 3 weeks of my 6 week trip working with an organisation called Ashalayam in Kolkata. Ashalayam provide street children with shelter, food, education and love. Their ultimate goal is to enable the children to re-join society with the skills to earn money and provide for themselves. In addition to this I planned to spend a further 3 weeks travelling around in a more traditional tourist role. My journey would include Varanasi; the holiest city in India, Agra, Kajuraho; a more rural location, and Orcha. I elected to travel by rail, not only to reduce costs but also to have more contact with local people.

Despite having done my best to mentally prepare myself for the culture shock of arriving in India, I was completely overwhelmed on my first day. I spent a 3 hour taxi journey from the airport sweltering in gridlock and wondering if I had overestimated my ability to cope with the situation. This feeling was compounded by the shouts and advances of numerous hotel owners as I exited the taxi, clutching what now seemed like a ridiculously proportioned suitcase. I could not have looked or felt more out of place and as I looked around in confusion the heavens opened to give me my first taste of monsoon weather.

I spent my first night feeling genuinely appalled by my surroundings and appalled at myself for my negative reaction. The next day however I made my way to Ashalayam and from that point on my feelings about India began to change. The children greeted me warmly, seemingly delighted by my presence, despite not knowing who I was. I ended up teaching English to a group of boys who had chosen to follow a vocational education instead of going to school. My mother is a teacher and the contrast between a class of children in the U.K and this group of boys was stark. They were attentive, polite and responsive. Being boys, they still had a rambunctious side, but they were never disrespectful.

 Journeying to the organisation every day entailed an hour’s bus journey. I spent this time looking out the window, taking in the life bustling on around me. The streets passing along beside the bus were lined with the temporary shelters of the many, many families, children and lone individuals who live on the pavements of Kolkata. They undertake their daily routines in full public view, they own nothing, they starve and struggle and many of them die. At first it was unbearably sad, but as the shock wore off I began to question how such wide scale poverty could be solved. Certainly Ashalayam and organisations like it were helping a minority of people, but even they were treating the cause, not the effect.

Some would argue that India’s development will follow a similar pattern to those of western countries; pulling out of its industrial age with the associated increase in quality of life and the shrinking gap between rich and poor. In my mind however, I see a significant obstacle to India’s development; the caste system. India’s population is divided infinitesimally into a hierarchy of social positions. Your caste is dictated from birth and although the caste system is now “abolished” in legal terms, it purveys every aspect of daily life. The caste system facilitates the belief that those living in squalor and poverty, doing the most degrading jobs for little or no pay were doing so because that was “their place”. The concept of a set of rights that everyone is entitled to is based on the assumption that we are all essentially equal, which gave rise to institutions like the National Health Service in the UK. How can a country reach a place where it is even beginning to tackle poverty and suffering amongst its people when there is a sliding scale of what various strata’s of society are entitled to?

My frustrated musings on India’s future were counterbalanced by the vibrancy and life in this amazing country. Every input to the senses is intense to the point of being almost overwhelming. The food is a polarised exercise in juxtaposition; salty and dry biriyani; saccharine, oily sweets, dripping I than syrup; Creamy, tangy lassi’s and fiery, aromatic curries. Breathing in could fill the nostrils with scents of fragrant incense and delicious street food or human excrement and decaying rubbish; on more than one occasion I had the illuminating experience of all four at once. Capitalism stands shoulder to shoulder with religion and history; never have I encountered a more spiritual and entrepreneurial people. They are tenacious in the face of adversity, creative and determined. Many tourists complain about the hard-sell they experience on an almost constant basis, but it is impossible not to admire their dogged pursuit of opportunity. It is also uplifting to see the faith and fervour with which they commune with their deities. I am not religious, but I was inspired and moved witnessing throng of people fighting for a glimpse of a representation of Kali, the god of power. In their eyes you could see that their belief was pure and unquestioning; not for India the sometimes pick and mix attitude of the western faithful.

I grew to see the beauty of India. It is not the glossy, exotic beauty of Bollywood films or carefully shot travel documentaries. It is not even in the people, who display the simultaneous foibles and generosity in spirit as any other group of people anywhere else in the world. It is not in the pale ethereal dome of the Taj Mahal or in the labyrinthine streets of Varanasi. To me the beauty of India is in its contradictions. It is a country of extremes; it elevates you one minute and drags you into despair the next. Comedy and tragedy exist side by side; of course this is true of all places and all times but nowhere is it more stark and obvious than in India.