B: When I started sending music to Kode 9 he sent me CD back all this music with glitches and crackles. And I was like ‘aw fuck.’ He played me Rhythm and Sound, and told me about Basic Channel and Pole and I thought ‘fuck it sounds like I’m making some kind of electronica’ and I fought so hard against that because I wanted it to be just vibes, urban, that sound I love, proper UK. No genre, just a sound.
B: So to me garage sounded the same: it was also just sub and drums. Rollage. Pirate sounding… like early jungle before it became regimented and boring. MJ Cole: I love those drums just as much as I love “Hidden Camera.” He’s obviously a badman: his sound is a bit slicked out, but I still love it.
B: I discovered EL-B and garage at the same time. I heard his Brandy remix, then “Buck n Bury” and “Passage of time” - and I hadn’t even heard “Stone Cold” yet, though I’d heard of Groove Chronicles on something else I didn’t like. Then I heard “Stone Cold” and I was just like “fuck…”
B: It's dark. That tune’s never left my head. That tune is still going around my head from the first time I heard it. And the thing about those drums: they’re still the future. It’s not a lost art – people still don’t know how to do those drums. It’s an unknown thing. It’s like the last fucking secret left in music: how you do those drums. I’ve tried. I’ve locked myself away and tried. And the thing about garage is: the more you look at it like some tech-boy producer, the less you get it.
B: There’s no ‘musicianship’ in my sound, that’s the enemy of my tunes. Fuck Rhodes chords, fuck that noodle stuff. There’s been a lot of times when producers I’ve liked have gone all ‘musician’ on me and just produced shit, not underground.
After reading the interview I really want to believe that those two tracks were ironic attempts after all. Either that or Burial died and Rival Dealer (save for the title track) was produced by someone other than Burial.
What's with the idea that rhythm & melody are two completely different things. One of the things that can really elevate a track, especially in jungle, is when the drums carry their own melody.
>B: I became obsessed with El-B and garage.
(TEMPACD 012)  El-B - Ammunition & Blackdown Present The Roots Of El-B
>B: At school I just loved jungle/drum & bass, I fell totally in love with it, just at the time when people other people didn’t. I realised my brothers had all these old d&b records, so I was going back into the older stuff and loving it. When I started making tunes it was an attempt to get that vibe like Foul Play and Omni Trio.
(ASHADOW 1 CD)  Omni Trio - The Deepest Cut Vol 1:
>Photek drumz … listening on headphones on the way to school. This must have been 1997, when the metal Metalheadz boxset came out.
(MET 008)  Photek - Natural Born Killa EP
(RAZORS 001)  Goldie and Photek - Still Life, The Rain (Remixes)
And now you too can be Burial.
>B: I’ve got this amazing old Foul Play tune that I love called “Dubbing You” - it sounds just like an El-B tune. I dunno: all my favourite producers came out of no-where and then went back underground. That’s what I want to be like.
>M: you know the link between Foul Play and dubstep right? That Steve Gurley, the early proto-dubstep producer that El-B rated, was half of Foul Play?
>B: Yeah man definitely.
Foul Play's Volume releases. Quality Breakbeat Hardcore and Jungle from one of Moving Shadows' most well known names.
(OR 001)  Foul-Play - Vol. 1
(OR 002)  Foul-Play - Vol. 2
(SHADOW 29)  Foul Play - Vol III
(SHADOW 29R)  Foul Play - Volume III Remixes
(SHADOW 29R2)  Foul Play - Volume III Remixes Part 2
(SHADOW 49)  Foul Play - Vol. 4
(SHADOW 49R1)  Foul Play - Vol. 4 - Remixes Part I
(SHADOW 49R2)  Foul Play - Vol. 4 (Remixes Part 2)
Sample: Being With You (E-Z Rollers Remix)
(SHADOW 57)  Foul Play - Volume V
Dubbing You is on Volume 2.
>B: I was brought up listening to drum & bass. The thing that was scary for me was when I started liking club tunes that were a bit sexier. I was tempted over to that, totally.
(CDQED1)  Photek - Modus Operandi:
>Drum & Bass
>we all agree that Omni Trio is GOAT
I don't think it's an exaggeration to say that I say this everyday.
>M: Also it’s interesting to think about pirate radio, which is local community broadcasting. Yet radio waves can’t be contained by community, they spill out inspiring people for whom they weren’t initially broadcast for and becomes part of our lives.
>B: Where I live now, I can’t get a good pirate radio signal – and that to me sounds better.
(LOXCD 136)  Zed Bias - The Sound of the Pirates:
>UK Garage, Mix CD
Thank you OP, when I first read all these interviews, I went and hunted down every track/artist he mentioned aswell
He's something, that may or may not be one of those rough tracks he sends to kode9
Leaker says he got it off a usb stick at hyperdub
I know but this was the same day he dropped this:
I had my hopes and dreams. They're still the only things I got.
God, I love that fucking mix. Think I got introduced to Speed Garage via that one. That, and those old DJ EZ Pure Garage comps.
>Browsing files from a random Soulseek user.
>It's a label owner/promoter/producer
>Everything on his computer is accessible and can be downloaded
>future releases' masters, contracts, ableton live projects...
I remember seeing a guy nicknamed Blawan on slsk once around a year ago who shared like 10,000~ folders of drum samples in various shape and form there
think it was the legit Blawan or just some autist?
I never really listen to much Speed Garage apart from hearing this back when charted:
I still don't listen to much Speed Garage apart from the odd Ice Cream Records release.
I did however hear this track off Locked On and immediately downloaded both mix CDs that Serious Danger released: http://www.youtube.com/watch?v=cDazcUDw06s
This is my favourite mix of that track though:
>tfw ninja's got a new last.fm pic
>tfw it's not pic related
I did try that very breifly when I first saw it existed but the best thing about it, the text, is unreadable on last.fm/anything else.
>hurr durr breaks
Not even narrow minded enough. Should be hurr durr 160+BPM breaks.
Been into too much techno for the last year or so and got a bit tired of it. For some reason decided to give a go to the one Amon Tobin's album I've never listened properly (Bricolage) and loved the shit out of it. Can I get more 90s sounding slightly jazzy drumfunk (or whatever dnb subgenre it is) like this?
This must be the millionth time I've reposted this: http://pastebin.com/Cp7zBC7k.
Still need to listen to We™ - As Is. but have been too lazy to look for it. The samples I've heard sound incedible though.
True, I was just thinking it could be a companion thread to /bleep/ just because I'd hate to shit up the /bleep/ thread with a bunch of posts about jungle and piss people off you know?
>I love UK garage, I love 2-step and Todd Edwards. For a long time I felt that no-one liked it, some music people cussed it because they're stupid, but its music for real people, those tunes still sound better than most stuff when you’re out.
fucking antz you omnipresent shitposter you