In 1998 I recorded a song called Jeweler’s Dive. It was one of only a few jazz-inspired drum and bass tracks I made during my loungy, loungy period of the late ’90s. An edited version enjoyed a mini-celebrity on Terminal Beats, a compilation released by indie jungle Chicago outfit Forte Recordings. (Old school ruffians will remember Midwest legends 3D and Snuggles.)Continue reading
Around the year 1997 I graduated from my awkward ’90s electronica phase and started producing truly polished, professional sounding dance music.
Between 1997 and 2004 I recorded tracks for a few national record labels, and even heard a few of my own songs on internet radio stations and once, unbelievably, in a department store!Continue reading
The future of drum & bass is behind us. The biggest leaps in style and sensibility were pretty much all locked down by the late ’90s, and Roni Size / Reprazent was in on one of the biggest leaps of all.
If you’ve ever loved jungle, drum and bass, or happy hardcore, you’ve loved hardcore breakbeat. Hardcore is the solid trunk of early 90’s British electronica that spawned literally dozens of sub-genres, including 2-step garage, dubstep, and fidget.
It was impossible to escape The KLF for a while there in the early ’90s. You couldn’t walk into a nightclub without hearing instantly catchy hits like What Time is Love, 3AM Eternal, Last Train to Transcentral, and (of course) Justified and Ancient featuring Tammy motherfucking Wynette.
Maybe it’s the time of year. Something about the icy air makes me crave cold, funky, robotic drum and bass. This winter is no exception.
What if a twitchy arcade monkey with a penchant for drum and bass hopped in a time machine dialed back to the mid-1990s after taking too much ketamine?