Words by Kam Sandhu

With the release of Fracture & Neptune’s ”Ups & Downs VIP” we catch up with one half of the dynamic duo to talk Czech beer, black plastic and heavy metal groupies… Listen ‘ere… Dis one da remix. VIP style!

The last 12 months has been fantastic for you as an artist. You have continued to grow your own Astrophonica label as well as signing singles to Exit, Metalheadz, and Subtitles Music. Reflecting on that success, what are your goals and aspirations for the next 12 months?

Yes indeed, it was a great 2011. It’s nice because I started the year thinking “right, I’m going in” and it paid off. The label has been established and there is now an anticipation with what we are going to do next. In 2012 I’m gonna take that momentum and build on it. I’ve got some interesting projects lined up on Astrophonica and will be working with a few other labels and artists too. Creatively, i think 2012 stands to be an interesting year for quite a few people and personally I’m going to be experimenting with new influences.

As Fracture & Neptune you have revisited one of your classic tracks “Ups & Downs’’ and given it the VIP treatment. Did going back in on the track spark memories from the time that you wrote the original or rekindle that original vibe?

It sparked memories of “how the fuck did I ever use Logic 4.7, its ugly!”. It was nice to go back in and dig the parts out because of the era we wrote the original in. There was a real buzz with lots of people working together and really vibing with each other. If I remember correctly we were working with Bassbin quite a lot back then and that was always fun. So yeah, it was nice. In terms of the vibe of the original, we wanted to keep that. Quite linear and progessive in arrangement, working off a groove and sticking to it.

Your remix of “I Am Metal” as Compound One is the fourth version of the track following Graphic’s original, the Martyn remix and the Starkey remix. It must have been daunting following the high calibre of remixes over the years? How did you approach the track?

The Compound One remix was probably approached in the same way all the work we do together; With a few Czech beers and arguments. Although saying that, I think this one was a bit more free flowing. We had an idea early on and stuck to it.

Your love for vinyl and music in the physical format is evident in the way you run your label and the attention to detail you put into all of your releases. Where do you see the place of the format in 2012, given that digital media has not as yet managed to remove demand for the product? Would it seem that people still have love for the black wax?

Vinyl is indeed still here. But a finished and high quality product is needed. That goes for artwork and packaging, not just the music. You have to up your game now and that’s what we do at Astrophonica. The physical product is still apparent, but it is very hard to maintain and you have to stand out. It’s gone beyond the music, which is something that buying records always did for me anyway. It has become collectors that buy vinyl now, not just music consumers. So the package has to be desirable and collectible as does the music.

Are you ‘’Up” or “Down”? And if you were metal who would you be? A) Tin Man (Wizard of OZ), B) Bruce Dickinson (Iron Maiden) or C) Optimus Prime (Transformers)?

Erm . . . I don’t know?! I guess Iron Maiden probably had more groupies than the other two so I’d say Bruce Dickinson.

For all info about OSRORG001 click HERE

Buy now HERE

In recent music history, the nature in which we consume music has broadened and diversified. The presentation of physical music has always been and still remains an important part of the final product. Look through the iconic works of the last 40 years and often you will see it accompanied by Iconic artwork… We even wear T-shirts with our favorite albums on them. Offshore Recordings is no exception.

With unique style and visual aesthetic the imprint has developed it’s own Iconology. This is largely due to the visual works of Jakob Russell Haglof, or you may know him better as Cede. Being the mastermind behind much of the labels label artwork, Cede has returned to the fold for OSRORG001, the latest 12” in collaboration with Organic.

“I’ve been doing art for a long time. I started drawing when I was about 4 and kept at it ever since. I got into design later on when I was in high school and that seemed like the natural career choice. Since then I have broadened things a bit and work with animation, video and software too. I have a studio called Pajamahouse that I do all my work through. Our most recent project was this hilarious app thats hybrid game / cartoon called Desi Leaves Town. Its a good example of all my interests and work coming together in one package.”

Given a loose brief of a post apocalyptic world under water, Cede expanded the concept bringing in his own influences and source materials. For us at the Offshore and Organic, it was really important that we had the nature of the collaboration expressed visually, while still allowing Cede room to interpret the music freely. The artwork had to be “real” and not contrived in any way. The visual concept had to marry the label art with the tracks themselves almost as a setting to which the music could take place.

“For the Offshore / Organic collaboration I saw it as an exchange of ideas. Design wise I immediately thought of currency and currency exchange. I wanted to create something that looked like money that would be used in a world that was overtaken by water. And it was a great way to include iconic elements that represented each location.”

Cede continues;

“Offshore’s artwork has always been like the music put out by the label. It has always followed it’s own path regardless of the current trends and in this way helps it feel more timeless. I think Brett has always been interested in commissioning visuals that are unique and eye catching. And even though the themes change that thinking is always behind each design.

For a collaboration that thinking is there as well, but the series needs to stand apart and compliment everyone involved. With Offshore and Organic I think we have achieved a good balance and am excited to continue the series.”

Much like the music, OSRORG001’s artwork is in part the sum of original influences recreated and reconstructed into something new. Taking the trends that have evolved through the labels history and building a hybrid that brings together both Offshore and Organic…

“Aesthetically inspiration can be found in anything, but for me I am really into art, design and reference books. I have a whole book on the development of art for currency that came in handy for OSRORG001.

As far as working with Brett and OSR it seems like our collaboration and work has become more natural. Over the years we have developed a better understanding of what Offshore design should be. So now its less trying out ideas and more executing something that immediately makes sense.”

Cede has strong opinions about the physical formats, especially when talking about vinyl.

“I think that artwork has a huge impact on physical music. Now more than ever. In a time where most people are buying MP3s record art and packaging needs to be really strong to justify the extra cost of spending extra.

These are the things I take into consideration when designing. What would I be happy to see on my own shelf? I would be happy seeing OSRORG001 there.”

For all info about OSRORG001 click HERE

Buy now HERE

For more info about Cede please see the below links:

Cede portfolio: jakobhaglof.com

twitter: @jakobhaglof

pajamahouse.com

desileavestown.com

Video Work:

New York’s premier experimental Drum & Bass imprint, Offshore Recordings, teams with London’s left of centre 170 bpm music tastemaker, Organic, to present the OSRORG series. The two combine mutual musical vision with a joint exploration of the subversive sounds. The creative essence of both New York and London are captured in this transatlantic collaboration- showcasing true urban breakbeat culture.
-

OSRORG001A
- Fracture & Neptune – “Ups & Downs VIP”
OSRORG001A – Fracture & Neptune – “Ups & Downs VIP” by Organic

Fracture & Neptune outdo themselves transforming “Ups & Downs VIP” into a straight-up dance floor pleaser. The duo calls on their favorite ingredients; a tough 2 step beat, wall shaking sub bass and a funked-out Emu bass line.

Clearly influenced by musical greats of the classic 90’s era, though reinvented with modern production etiquette and finesse, Fracture & Neptune create what is arguably their most dance floor track to date. Proceed with caution when this beast gets dropped.
-

OSRORG001B
- Graphic feat. Beans – “I Am Metal” Compound One Remix

OSRORG001B – Graphic Feat. Beans – ”I Am Metal” (Compound One Remix) by Organic

Compound One blur the lines between Hip Hop and Drum & Bass while reinterpreting another gem from the Offshore vaults.

Half-time, bionic drum-beats lacerate through full fat analogue bass tones. On this rare occasion Compound One move away from their usual 140 bpm template and embrace a more dynamic Drum & Bass tempo. Cleverly re-arranging original Antipop Consortium member Beans’ rap vocal while maintaining the impact and rawness of the original track.
-

To complete the package, artwork has been specially commissioned from Offshore Recordings mainstay and graphic art guru Cede. Articulating the transatlantic nature of the series perfectly while capturing the essence of musical exploration…

Available on 12″ Vinyl and digital download…
Buy now HERE

Ahead of the release of OSRORG001, Offshore’s captain of the ship DJ Clever tells us a bit about how the project came about, operating out of New York City and over a decade of music from the label… With this in mind, the man himself has put together a mix of classic Offshore tracks… Pow!

Offshore Recordings has been putting out solid cutting edge drum & bass for over a decade now… On reflection, how has the genre and the label evolved and developed in this time? In 2012, what does the label stand for?

To be honest, the fact that Offshore has existed for over 10 years only dawned on me during these past few weeks. It’s been a really interesting journey over the years – I’ve met tons of amazing people and visited some great cities. The genre has always had brilliance (along with total crap) to offer. What you find and take away from drum & bass all depends on where you look and who you associate with.

Before I took a break from music I was so focused on the next thing and constantly finding and playing brand new tunes that no one had ever heard. Lately, I’ve been playing and listening to tracks that have stood the test of time. Fortunately, I don’t look back on the Offshore catalog with many regrets. I can safely pull any OSR 12″ (or 10″) off the shelf with a smile on my face. I hope that most fans can do the same and feel that the time is ripe for new listeners to appreciate a robust catalog missed due to timing or age. Offshore tunes remain relevant and 2012 stands for continuing that legacy.

The first release in the series sees 2 classic Offshore tracks getting the remix treatment for 2012. When signing and commissioning music, what do you look for from an artist? What were the motivations behind remixing firm favorites from the Offshore back catalogue?

I like to think that I’m friends with the artists on Offshore, so I’d hope that we share similar tastes and views about both music and life. So, I look for artists that strive to make music as art and not for money. Offshore has never been about making money. Nearly every penny we have ever made has gone right back into the label. There was a point when I made some money from DJing, but it wasn’t enough to say that I’ve made much from drum & bass.

Offshore has always done it’s own thing and with that I’ve attracted like minded artists that appreciate being involved with the label for the ideals that it stands for. As for the motivations behind remixing back catalog favorites, it seemed a nice transition into the project. Fracture and Neptune were involved with the label very early on and released a few things over the years, but they’ve certainly come into their own of late. They are making some of the most promising music in the genre right now, so they were a natural pick.

True to its namesake, Offshore Recordings has always been seperate from other drum & bass labels, operating on it’s own plane both geographically and stylistically, how does this effect the labels
outlook?

Honestly, I’d say the separation from the larger part of the scene produced both positive and negative effects. It’s allowed me to continue the label in a direction without any restrictions, but it’s also pigeonholed the label to a degree. Some drum & bass fans might hear the name Offshore and make assumptions based on one tune they heard or what a friend said about the label. I guess that remains the case for anything, but it definitely affects my outlook from time to time. Granted there are a lot of fans of the label and people that fully appreciate what we’re doing that allows us to exist and continue doing it, for which I am extremely grateful. It would seem that the genre has evolved a bit or perhaps broadened it’s listenership. So, I think that with the help of Organic, now is finally a great time for Offshore to exist separately while being closer to the scene than in previous years.

Offshore has always been a bit of a renegade within drum & bass, both musically and also aesthetically. Visually, the releases have always been eyecatching and unique. Can you tell us about the visual
criteria for an Offshore release and also the theme behind the latest release?

Much like the music, I’ve always sought artists that were expressing themselves and willing to work with me and my visions. My feedback always plays a part in the Offshore artwork. I like bright colors and bold designs that stand out. Offshore has primarily worked with two artists over the years, first Nicholas and now Jakob (Cede). Oddly enough, they are good friends. Both produce strong illustrations and very unique artwork. For the latest release we’ve taken landmarks from both London and NYC and submerged them in water. We never really discussed whether we were predicting a natural disaster or Offshore global domination. We’ll let people make up their own minds once they’ve heard the 12″.

Tell us about the mix and how you went about it…

The mix is entirely composed of Offshore vinyl back catalog. Adding the Buried Treasure compilations would have given me too many options to choose from and when I began DJing, DJs played vinyl. That’s still the best way to do it, in my opinion.

So, I basically pulled the majority of the vinyl off of the shelves and tried a few things here and there. I’ve never been one to plan out mixes or sets, it usually just comes together for me. I attempted the mix a few weeks back, but I did so with a single speaker that was blown, so it wasn’t ideal. I ordered some new speakers (the exact ones that blew from 1995) and put together the mix that you’ll find here.

My goal was to represent the various sounds of Offshore and depict how they all share a similar scope. I wanted to include the original version of “I Am Metal” along with the Martyn remix to show what came before the Compound One remix. I also thought it would be interesting to compare “Ups & Downs” alongside the VIP version. I couldn’t do an Offshore mix without including a number of Deep Blue tracks. Sean is my favorite drum & bass producer. Now, if I could just get him to come out of retirement and produce new material for the label. Unfortunately, there isn’t an ASC track in the mix, which is a bummer. That would be the one thing I would change, as James really helped out with the label early on and he’s finally getting the praise that he should have gotten years ago. I’d also like to point out that the Omni Trio remix of Sprouts was the last track drum & bass track that he worked on to my knowledge. Another legend that I’ve been lucky enough to have grace the Offshore catalog. I hope that everyone enjoys the mix. I’m very excited about the relaunch of Offshore through teaming up with Organic. Dave and Alexander have been great to work with and this should be a truly amazing series.

DJ Clever Classic Offshore Mix

DJ Clever Classic Offshore MIx Track Listing

Martsman – Step Up – HOTSHORE001
Mav & Twister – The Tubes – OSR011
Deep Blue – Soho Code – OSR006
Graphic ft. Beans – I Am Metal (Vocal Version) – OSR012
Sileni – Twitchy Droid Leg – OSR008
Fracture & Neptune – Ups & Downs – OSR019
Fracture & Neptune – Ups & Downs VIP – OSRORG001
Deep Blue – Who Got the Beats – OSR015
Graphic ft. Beans – I Am Metal (Martyn’s 3024 Robot Mix) – OSR017
Nucleus & Paradox – Think About It – OSR009
Hi-Lar – Back On Trip (LXC Remix) – OSR020
Dissident – Society of Silver Skeletons – HOTSHORE002
Deep Blue – Soho Code X – OSR010
Alley Cat – Sweet Spot – OSR022
Tundra – Sprouts (Omni Trio Remix) – OSR013

Full release info below:

New York’s premier experimental Drum & Bass imprint, Offshore Recordings, teams with London’s left of centre 170 bpm music tastemaker, Organic, to present the OSRORG series. The two combine mutual musical vision with a joint exploration of the subversive sounds. The creative essence of both New York and London are captured in this transatlantic collaboration- showcasing true urban breakbeat culture.
-

OSRORG001A
- Fracture & Neptune – “Ups & Downs VIP”
OSRORG001A – Fracture & Neptune – “Ups & Downs VIP” by Organic

Fracture & Neptune outdo themselves transforming “Ups & Downs VIP” into a straight-up dance floor pleaser. The duo calls on their favorite ingredients; a tough 2 step beat, wall shaking sub bass and a funked-out Emu bass line.

Clearly influenced by musical greats of the classic 90’s era, though reinvented with modern production etiquette and finesse, Fracture & Neptune create what is arguably their most dance floor track to date. Proceed with caution when this beast gets dropped.
-

OSRORG001B
- Graphic feat. Beans – “I Am Metal” Compound One Remix

OSRORG001B – Graphic Feat. Beans – ”I Am Metal” (Compound One Remix) by Organic

Compound One blur the lines between Hip Hop and Drum & Bass while reinterpreting another gem from the Offshore vaults.

Half-time, bionic drum-beats lacerate through full fat analogue bass tones. On this rare occasion Compound One move away from their usual 140 bpm template and embrace a more dynamic Drum & Bass tempo. Cleverly re-arranging original Antipop Consortium member Beans’ rap vocal while maintaining the impact and rawness of the original track.
-

To complete the package, artwork has been specially commissioned from Offshore Recordings mainstay and graphic art guru Cede. Articulating the transatlantic nature of the series perfectly while capturing the essence of musical exploration…

Available on 12″ Vinyl and digital download…
Buy now HERE

Organic head honchos Alexander and Dave take a break from pretending to be busy to talk about the forthcoming OSRORG 12″ Series, Fracture & Neptune, Compound One and trips to New York. The guys talk about working with Offshore Recordings, sourcing music and becoming part of the OSR story…

New York’s premier experimental Drum & Bass imprint, Offshore Recordings, teams with London’s left of centre 170 bpm music tastemaker, Organic, to present the OSRORG series. The two combine mutual musical vision with a joint exploration of the subversive sounds. The creative essence of both New York and London are captured in this transatlantic collaboration- showcasing true urban breakbeat culture.
-

OSRORG001A
- Fracture & Neptune – “Ups & Downs VIP”
OSRORG001A – Fracture & Neptune – “Ups & Downs VIP” by Organic

Fracture & Neptune outdo themselves transforming “Ups & Downs VIP” into a straight-up dance floor pleaser. The duo calls on their favorite ingredients; a tough 2 step beat, wall shaking sub bass and a funked-out Emu bass line.

Clearly influenced by musical greats of the classic 90’s era, though reinvented with modern production etiquette and finesse, Fracture & Neptune create what is arguably their most dance floor track to date. Proceed with caution when this beast gets dropped.
-

OSRORG001B
- Graphic feat. Beans – “I Am Metal” Compound One Remix

OSRORG001B – Graphic Feat. Beans – ”I Am Metal” (Compound One Remix) by Organic

Compound One blur the lines between Hip Hop and Drum & Bass while reinterpreting another gem from the Offshore vaults.

Half-time, bionic drum-beats lacerate through full fat analogue bass tones. On this rare occasion Compound One move away from their usual 140 bpm template and embrace a more dynamic Drum & Bass tempo. Cleverly re-arranging original Antipop Consortium member Beans’ rap vocal while maintaining the impact and rawness of the original track.
-

To complete the package, artwork has been specially commissioned from Offshore Recordings mainstay and graphic art guru Cede. Articulating the transatlantic nature of the series perfectly while capturing the essence of musical exploration…

RELEASE DATE – 20/02/12 – Available on 12″ Vinyl and digital download…

Beastie Respond is a name you are going to be hearing alot more of… Hailing from Denmark and getting alot of support from the likes of dBridge and Loxy, Beastie Respond is turning all the right heads. First breaking his silence with the anthemic “Syncopy” featured on Autonomic Podcast layer 12 we meet the great dane and check out a thoroughly well executed guest mix…

Beastie Respond is name that is fairly new within the public consciousness of 170 bpm music. You’ve had alot of support for your music from the likes of dBridge and Autonomic with a sound that is hard to restrict to main stream perceptions of drum & bass. Can you tell us a little bit about your musical history and influences within your tracks?

My musical background is quite diverse. I have always been listening to other stuff than most kids, when I first started listening to music. I had a VHS tape with music videos from the 80′s and early 90′s which helped form my musical horizon at first. At first I was attracted to the 80′s heavy metal like Metallica and Ozzy Osbourne. So I was listening to a lot of hard rock and metal when I was quite young.

At a certain point I changed school and made new friends, and here I was introduced to ska and reggae, which came to have a major influence on my musical perspective. At this time I had been playing drums for 4 or 5 years. We formed a ska band (in which I’m still playing) and played intensively inside and outside of Denmark. It was through the ska/reggae scene in Denmark I first encountered the DJ culture, which attracted me in a strange way. I wasn’t really interested in being a ska or reggae selector, but more the culture as a whole.

Then suddenly I discovered drum & bass through the D&BA podcasts. I stumbled upon it randomly really. So no romantic story about going to rave parties as a kid for me. But drum & bass really caught my attention musically because of the power and energy in the music. Renegade Hardware was the first label I started following and still do.

What equipment are you using in the studio? How do you approach a new production? Do you have any production heroes who inspire your techniques or approach to music?

I have my Mac and a pair of cheap Yamaha monitors. I try not to have a specific approach. I don’t because I really don’t want to fall into a routine when I’m producing music. It needs to be something new every time! I don’t want to make the same tune twice, not even something similar. Besides the stuff I mentioned above I also have a pair of synths; Juno 106 and JX-8P from Roland. There is also an old tape deck, I use that for strange noises. It doesn’t really work, but the sounds coming out of it is pretty useful anyway.

Another thing that I try to, is not to listen to much music, besides what I do in the studio, to avoid being biased from whats going on in music. If I find inspiration in other music its usually from 80′s rock or movie sound tracks.

Most of my inspiration comes from transportation. Especially bike rides. The idea for Syncopy came about during a bike ride. I also like riding trains and subways.

You’ve put together an excellent mix for Organic, can you talk us through the highlights of the mix for us and you’re attitude towards live/DJ performance?

Erm, I don’t know what the highlights would be. I think all the tunes are really good in their own way. I wanted the tunes to breathe, so I didn’t want to cram to many tunes in the mix, but I also wanted to play as much as possible.

I have two different approaches to live and DJ gigs. My live-gigs are only focused on the music, and not so much about the audience. When I’m booked to do a live-gig I prefer playing earlier, so theres not many people to disappoint. Haha. When playing DJ-gigs I have more focus on the audience. I tried to grasp both perspectives in this little mix. The deep and musical stuff as well as the more dance floor orientated stuff.

What can we look out for in future from Beastie Respond?

Its always hard to tell isn’t it? Look out for more releases on Teal. There is a single coming and later on some interesting remixes and other projects as well.

Also I have a tune coming out on Loxy’s CX label sometime in the future. I’m quite excited about that. I’ll stay focused on making new and diverse tunes both for the dance floor as well as for the listener, but I always keep in mind to make something new. I will keep trying to be original.

Beastie Respond Organic Guest Mix
Beastie Respond – Organic Guest Mix by Organic

Beastie Respond Guest Mix Track Listing

Beastie Respond – No More (Teal Dub)
Flatliners & Sublime Porte – Grizzly Hills (Consequence Remix) (Dub)
Bulb – The Core (Origami Dub)
Flatliners – Kangaroo Dub (Morphy Remix) (Dub)
Thing – My Dub (Dub)
Data – Phalanx (Forthcoming Blackout)
Loxy & Resound – Renaissance (Dub)
Beastie Respond – Be Quiet (Teal Dub)
Data – Fidelity (Blackout Dub)
Fracture & Neptune – Ups & Downs VIP (OSRORG001 Available 20/2/12)
Beastie Respond – Syncopy (Teal)

New York’s premier experimental Drum & Bass imprint, Offshore Recordings, teams with London’s left of centre 170 bpm music tastemaker, Organic, to present the OSRORG series. The two combine mutual musical vision with a joint exploration of the subversive sounds. The creative essence of both New York and London are captured in this transatlantic collaboration- showcasing true urban breakbeat culture.
-

OSRORG001A
- Fracture & Neptune – “Ups & Downs VIP”
OSRORG001A – Fracture & Neptune – “Ups & Downs VIP” by Organic

Fracture & Neptune outdo themselves transforming “Ups & Downs VIP” into a straight-up dance floor pleaser. The duo calls on their favorite ingredients; a tough 2 step beat, wall shaking sub bass and a funked-out Emu bass line.

Clearly influenced by musical greats of the classic 90’s era, though reinvented with modern production etiquette and finesse, Fracture & Neptune create what is arguably their most dance floor track to date. Proceed with caution when this beast gets dropped.
-

OSRORG001B
- Graphic feat. Beans – “I Am Metal” Compound One Remix

OSRORG001B – Graphic Feat. Beans – ”I Am Metal” (Compound One Remix) by Organic

Compound One blur the lines between Hip Hop and Drum & Bass while reinterpreting another gem from the Offshore vaults.

Half-time, bionic drum-beats lacerate through full fat analogue bass tones. On this rare occasion Compound One move away from their usual 140 bpm template and embrace a more dynamic Drum & Bass tempo. Cleverly re-arranging original Antipop Consortium member Beans’ rap vocal while maintaining the impact and rawness of the original track.
-

To complete the package, artwork has been specially commissioned from Offshore Recordings mainstay and graphic art guru Cede. Articulating the transatlantic nature of the series perfectly while capturing the essence of musical exploration…

RELEASE DATE – 20/02/12 – Available on 12″ Vinyl and digital download…

Those who dig a little bit deeper for their beats will already know… But for those that don’t, we present Sub. Coming straight out of the void of experimental breakbeat, Sub is synonymous within the more drum driven underground 170 music scene. The man himself has put together a tasty mix just in time for the Syncopaths Vol.3 LP release on his own Syncopathic imprint.

Featuring the likes of Macc, DJ Trax, Theory, Double O and Sub himself, the album has a strong focus on drum work outs and edits, with practically all artists being regular contributors to the Subvert Central forum and community.

The album is a good example of the legacy of the ”choppage boom” of the early to mid noughties, showing where that sound has gone and how it has developed. Where it’s previous heroes like Breakage and Fracture & Neptune have moved onto their own musical horizons, The Syncopaths Vol 3 showcases the new skool break enthusiasts like Tim Reaper, Parallel and Fushara further exploring the micro genre’s boundaries.

The Syncopaths Vol. 3 Track Listing

1. Dj Trax – Windows To The Soul
2. Theory – Foundation 11
3. Invisible Landscape – Running Man
4. Buzz & Fushara – Trigger For Change
5. Macc – From A Long Way
6. Acid Lab – Density
7. Phuture T – Indica
8. Double 0 – Hypnotise
9. Parallel & Tim Reaper – The Bird Tune
10. Sub & Nic TVG – Kindly Garden Snakes

Sub – Organic Guest Mix

Sub – Organic Guest Mix by Organic

Sub Organic Guest Mix Track Listing

1. Theory – Poison Tongue (Syncopathic Dub)
2. Rawst – Santa Muerte (Dub)
3. Dub Phizix – Rags (Exit)
4. Loxy & Resound – Black Hole (Exit)
5. Indidjinous – Melt ft. Ibunshi (Pinecone Moonshine)
6. Verb – Eternal Bass (Sound Artillery Dub)
7. Mindmapper & Fre4knc – Rushed (Deepah Beats Dub)
8. Scale – Smokerings (Darkland Recordings)
9. Dub Phizix – Bateman (Soul:R)
10. MIndmapper & Fre4knc – Mind Of Steel (Break Fast Audio Dub)
11. Nic TVG – Some Persons Change // Sub Remix (Pinecone Moonshine)
12. Double 0 – End Of Time (Dub)
13. Paranoid Society – Qunabu 22 (Pinecone Moonshine)

Words by Nathan Chadwick

For anyone circulating and percolating across the more ambient spectrum of drum & bass, PFM was an indicator of quality, forward-thinking music. We catch up to talk about past and present…

While standout classics like The Western, One and Only, Danny’s Song, Wash Over Me, and For All Of Us firmly placed the then duo at the heart of Good Looking’s dominant entourage at its peak, his remixes for JMJ & Richie and Eat Static cemented PFM’s position at the vanguard of the ambient drum & bass scene.

Jamie Saker left the group, but Mike Bolton took on the name, and 2002′s Producer 02 provided a sublime retrospective on the PFM project, along with a fresh version of perhaps the most iconic PFM tune – One & Only.

Following a house release in 2004, it all went quiet – for six years.

After an electrifying comeback on the Telluric imprint in 2010, and the utterly charming If You Were Mine in September 2011, Mike drops a stunning remix of Touch Feel for Justice & Metro’s 839 LP remix project. Contributing a remix that takes you back to how the future seemed to be ever expanding, yet still retaining cutting edge in its own right, the track rubs shoulders with top-class talent such as Jason oS, Deep Blue, Dominic Ridgway and more.

Good time to talk to Mike? We thought so…

You were synonymous with the ambient jungle movement of the 90s. What was your musical development up to that point, and how did you get signed to GLO?

I really started spinning records back in 1982-83. A friend of mine owned one of the biggest clubs in my town – that’s when I first got to play on Technics 1200s. I had been buying records for a number of years before I left school. I listened to a wide range of music at that time – mostly jazz, funk, electro, hip hop –but almost anything I like I bought. Then in 1987-88, a new sound started to come through, the early house sound, which would later become the rave scene.That’s when I met Danny Bukem, in around 1990. Four years later, he persuaded us to get a studio and that’s how I got involved with GLO.

What was the highest point during that part of your career?

Probably when we went live and went on tour playing Ministry, Cream etc – those were exciting times.

When on tour with GLO, what was the most peculiar thing you saw? And what other tales of touring ‘misbehaviour’ can you pass on?

I could tell you some stories about strippers, kamikazes, the real slim shady and broken headphones, but I’m not. It would take too long. It is safe to say that if I drink too much Polish vodka, there’s a good chance I could find myself locked out of my hotel room with no clothes on!

Why do you feel the atmospheric, ambient side of the scene became ‘frozen out’ of the drum & bass scene around the turn of the millennium?

I have no idea – as far as I see it, it’s always been that way.

Your tunes sounded so far ahead of their time – what studio techniques were you using and what gear did you use?

No special techniques really, just quality synths mostly – Roland and Korg – and lots of hybrid textures, which I used to layer up to get one sound.

As the darker side of the sound became more prominent, did you consider making tunes in a similar vein, and why?

Depends really on your definition of darkness – there is beauty in darkness, especially when you come from the darkness into the light. Like the old lyric: “How strange the change from major to minor” – I just make music I’m feeling, that’s it.

You were away from drum & bass for a long time – what made you leave, and what brought you back?

I never really left, I just took a back seat for a while and, therefore, I’m not sure if I’m really back. I have started making a few tunes again – who knows what might happen?

How would you describe the drum & bass scene, and the wider underground music spectrum, as it is today?

I think it’s really cool on a level of production and talent; forward-thinking individuals making extremely good tunes, which I love. Obviously the internet has changed things from an underground point of view. It’s probably very unlikely that there’s many producers making a living from mellow drum & bass anymore – if you are making that kind of music, it’s just for the love of it.

How did you get involved with the 839 remix project?

I’ve known Scott (Metro) for years. I met him back in the day, when I first started playing out, but I’d lost contact with him for a few years. However, when we hooked upagain, he sent me some stuff over from the label that I really liked, so it was really cool when he asked if I would like to do a remix because I already had “Touch Feel” as one track I wanted to work on for the label.

Who’s currently inspiring you, both within and outside the scene?

Loads of people – Phat Playaz, Pennygiles, Oliver Yorke, Savage Rehab, Jaybee, Big Bud, Komatic and Calibre, to name but a few.

When producing a tune, do you set out with a pre-ordained idea or is the process more organic than that?

For the most part, I like to start with the drums and percussion, maybe a few incidentals thrown in like effects and so on, and get a good loop going – say 16 bars or 32. It has been known to work the other way – for example, music, samples and so on, then the beats and bass. However, I think a good starting point in the tune-making process has to be the drums and the whole drum programming thing.

Do you have a particular favourite tune that you’ve produced, and why?

It would probably be The Western. It was a tune that started with a simple loop – nobeats – then I added some chords. I remember just listening to that loop over and over again, it was just beautiful to listen to that go round and round. There’s something going on when you can create something that you can listen to in loop over so many bars, and it’s like there is no beginning or end. It’s quite an emotional journey that one for me – for many different reasons.

How do you get inspiration? Do you hear a sample and go – oh yes, or is it anaccumulation of ideas?

I get inspired from lots of things, but mostly by listening to music all kinds. I like a lot of different styles, and there’s a whole bunch of it out there .

Do you feel drum and bass can become mainstream but retain artistic merit, as it did in the 90s?

Probably not. The kids today want to go out and jump about to something that’s more in your face, kind of rock and roll rebellion, all that kind of stuff – that’s why dubstep is crossing over. It’s what the youngsters want to hear. Of course, there isstill a big drum & bass following out there, but as a scene it’s quite small. I’ve always made tunes to listen to as well as dance to. My aim in 2012 is to make more music to listen to rather than dance to, and that’s what I’m going to concentrate on in the future.

Have you ever considered expanding your repertoire into other areas?

I am working on some new stuff as well as drum & bass. I’ve got some more remixes in the pipeline, and I have some interesting collaborations coming up in the new year.

Do youhave a message for today’s young producers?

My message to anyone young or old who might be thinking about getting into producing music, whatever the genre, is enjoy it, keep it simple, make sure you use goodingredients to start with and steer clear of extreme EQs and over processing techniques. But most of all, have fun!

What doesthe future hold for PFM?

I’m going to make more music, that’s for sure.

Listen to clips ofthe 839 remix album here: 839 Remixes LP – Justice & Metro – Various Artists by Modern Urban Jazz

Out on January 9, 2012.

A sampler12″ vinyl package, featuring PFM’s remix of Touch Feel and Jason oS rework of Solomon, is out now – listen here: Justice & Metro – 839 Remixes 12″ vinyl – OUT NOW!! by Modern Urban Jazz

Organic drop by to the Exit Records studio to link with Consequence ahead of his new album “Test Dream”. We take a journey through influences, a personal vision of drum & bass, and some burping to prove he’s human… This is NOW.