1. Calibre – Carry Me Away [Signature]

Not a lot can be said about Calibre that hasn’t been said already. The term genius is usually bandied about and I for one think it is well and truly justified. A crisp rolling intro mixes sublimely into almost anything, and its subtle drop into a lush warm bass and haunting piano sample captures what the man’s all about. His tunes make a strong case for ‘less is more’ and although it must be said that his formula is a tried and tested one, the results are still beautiful, deep slices of drum & bass. The man really can do no wrong, and considering the amount of releases to his name that’s pretty impressive.

2. Dillinja (& Bert) – Lionheart

People talk about ‘old Dillinja’ and ‘new Dillinja’ as if they were two different people and if you didn’t know any better, you could be forgiven for thinking that they were. This is ‘old Dillinja’ at his absolute best, the man who could do things with amens that no-one else could, the man that made the most furious jungle imaginable, and comparing this to his recent ‘fast car’ efforts honestly brings a tear to my eye. This is 100% guaranteed to smash absolutely any and every dance floor across the land with its insane second drop, massive bass line and chopped amen. I paid a heinous amount for this on Ebay but it was the best money I ever spent. One of the prize jewels in my collection without a doubt.

3. Digital – Restless [Reinforced]

This is where I reveal myself to be a bit of a digital fanboy. I have more digital records in my collection than any other artists by a long shot. I love this man. I would have this mans babies if it were possible and I could walk around the proud dad like Arnold Schwarzenneger in ‘Junior’. He writes the biggest & baddest tunes out there, and this 2001 outing on the legendary reinforced is one of his best offerings. The intro is a DJ’s dream with its catchy drum rolls to cut in and out of the mix and the drop into a dubby bass heavy monster is befitting of Digitals ‘Dubzilla’ title. Massive in every sense.

4. Suv – Output [Full Cycle]

Whilst it was Roni Size, Die and Krust who basked in the full cycle lime light, Suv quietly went about producing some of the sickest beats to appear on this sadly now defunct label. The track is taken from the ‘Free Beat’ EP with which Suv developed the use of the ¾ time signature to devastating effect. The intro builds ominously with some bass weight to test even the loudest systems and it drops into an old school jungle style roller - definitely a tune for the heads. In much the same way I lamented the demise of ‘old Dillinja’, Full Cycle’s departure from the classic sound captured so well in this track to the ‘Clipzy’ sound it focused on at the end makes me cry.

5. Equinox – Ital Lion Luff Head [Intasound]

Equinox has been around a while but hes the leader of the ‘nu-skool’ breed of jungle producers and you can see his influence on artists such as Breakage, Dub-One, Nolige and the like. This track is pure equinox with its throbbing bassline, layer upon layer of crisply chopped amens and deadly second drop. Dancefloor destroyer as standard.

6. Drumagick – Night In Tunisia [Vinyl Vibes]

A tune that can work in large parts of Miles Davis & Charlie Parkers’ ‘Night in Tunisia’ gets a big thumb up from me. The intro to this tune is 128 bars long and its use of the aformentioned sample is inspired, making it the perfect first tune of a set as it builds and builds until the drop comes from absolutely nowhere, taking it from gentile jazz tune to bassy d&b roller. The main bass line ‘body’ of the song is only 64 bars long so you’ve got to be quick in the mix, but that again is what makes it so perfect to start with as it gets the ravers screaming for more straight from the off. And thats what its all about really.

7. Suv - Afromba Magica [Full Cycle]

Fast forward a few years from ‘Free Beat’, and Suv is still churning out little gems that seem to disappear under the d&b radar. You can hear the gradual progression toward the more jump-up sound mentioned earlier as the eerie, haunting intro gives way to a big squelchy bassline that does the business on the floor. One of Suv’s last releases on Full Cycle, but one of his best.

8. Cyantific – Little Green Men [Hospital]

Quite a dramatic shift away from the traditional Hospital sound with this release. Another slow building intro (I do seem to like those), it breaks down into frantic, sometimes glitchy drums, thumbing b-line, and wailing female vocal. Another DJ’s dream with lots of little bits to play around with in the mix.

9. Mutt & Outlook – Dreams [Xtinction Agenda]

Yes, you’ve guessed it another epic intro. Soulful female vocals, strings & keys all combine to add to the very orchestral feel. This tune is such a favourite because the drop, with its ferocious drums, is something totally unexpected from the build-up, much like ‘Night in Tunisia’. The theme continues throughout the tune and takes the listener (or the raver…) on a journey through a lush drum & bass soundscape like no other.

10 . 4Hero – 9×9 (MIST Remix) [Reinforced]

Everybody who buys records has these moments – you trawl through box upon box of tunes for hours until all of a sudden, BAM!! A diamond in the rough. I had one of these such experiences with this tune, finding it deep within the murky depths of avid records basement. A very happy man I was indeed, as this tune is an anthem in every respect. Marcus Intalex & ST Files’s classic reworking of 4Hero’s ‘9×9′ is the very definition of ‘liquid funk’ with Imani Uzuri’s unfathomably catchy vocal over some warm bass and rolling drums. Sounds good whether played out on a big system or through some simple ipod headphones. Quality through and through.

Words: Fonik

It seems that the margins in which a person is labelled a criminal are getting smaller and smaller. In Orwell’s’ 1984, he painted a portrait of a society that was watched over and moderated by authoritarian forces. Although at the time this represented an exaggeration of a view of society, years on the comparisons seem less far fetched. We are being made to fear a shadowy world where even your neighbour could be a potential threat, but does this world really exist to the extent that the press and government would have us believe? Are all these measures in their scope really necessary for our protection?

Newspapers like the Daily Mail are feeding into a distorted hysteria, portraying sections of society as the scapegoats of wider national problems. Their definition of people who are criminals is ever expanding, to now include Graffiti artists, people from minority backgrounds, and even a load of people standing muddy in a field, who just want to listen to music. The red tape is being bound so tight it now feels like an ever increasing struggle to breathe.

Labour’s prevailing legacy (apart from war with Iraq and Afghanistan) is their tightening up of anti-social behaviour legislation. In 2003, the Anti-Social Behaviour (ASB) Act was passed. Championed by David Blunkett it strengthened existing laws. The act contained new measures of control, first on the hit list seemed to be Graffiti artists. Under 16’s were no longer allowed to purchase spray paint aerosols and councils were given new powers to order the removal of graffiti from private, yes private, premises even when it had been authorised.

Next on the hit list unsurprisingly were free parties, with a new zero tolerance approach. In 2004, the Act was amended, so that the number of people required to constitute a public assembly was reduced from 20 to 2. With breathtaking hypocrisy, this completely defies the European convention on human rights (ECHR), article 11 of which states that “everyone has the right to peaceful assembly, and the freedom to associate with others”. The convention goes further also stating that “everyone has the right to freedom of expression…without interference by public authority”.  In a statement issued by Blunkett, required of him from the convention, he stated that in his view “the provisions of the ASB Act are compatible with the ECHR”

Pirate radio stations are not escaping either. Currently there are about 150 in the country, most of which are centred round London. Last year there were approximately 150 seizures, and 2005 saw the launch of Operation Leopard (at taxpayers expense) where the police launched massive raids all over London to seize broadcasting material. Yet research from Ofcom, the office of communication, has found some interesting if not predictable findings. It found that 16% of the whole population of London listened to pirate for it’s unique music content that could be found nowhere else. In another report it was found that communities actually felt that pirate was an important medium for the “development and promotion of grass- roots talent”, and also important to give minority groups a voice. Of course pirate does have its issues, such as interfering with the signal of licensed radio stations, but surely a measured approach needs to be taken, against those that organise it.

There’s also the contentious issue of licensing music performances. On paper I can see why the Performing rights society want payment for the broadcasting of their music, but cases have come to light that show how the line has become blurred. One such example was a bike repair shop that played music in their workshop. Sometimes customers came into the workshop, in which case the owner insisted it was turned off. The owner then received a letter from the performing rights society, telling him that the music was to go off permanently, unless he paid £85 license fee, as playing tunes in the workshop constituted a public broadcast, and as such, had to be licensed.

In another case the owner of a record shop played tunes in the background for customers (as was the case with all record shops before most got squeezed out the market through exorbitant rent) He was also told unless he coughed up money, the playing of music was illegal and had to be switched off- despite the fact the owner argued that it was free promotion for the artists, because he sold their music. To add to the madness those who get caught breaking this rule can receive a maximum of £20,000 fine and six months in prison. Even charities are no longer safe; performances that are raising money for a good cause must also pay the licence fee.

To add to the blurring of human rights Ministers are currently considering plans to hold a database of electronic information. In this database will be very single phone call made in the UK and also every email that has been sent. Service providers, will then pass on the information for the government to scrutinise. A report from Richard Thomas, the information commissioner stated that in his opinion, by enforcing such big brother measures we are committing “slow social suicide” as mistrust is built up between communities and the fragile trust between government and society is eroded.

The big brother analogy is one seems increasingly relevant. The introduction of loudspeakers in town centres that bark orders at you, should you drop a piece of litter, smacks of the nanny state gone mad. Of course no-one is arguing that for social cohesion we do not need to control anti-social behaviour, of course we do, but to treat people like they are small children again is a regressive step.

Our right to free speech and action seems to be increasingly under threat, thanks to post 9/11 and 7/7 paranoia. There has been a whole raft of new legislation that has hurriedly been ushered into place to restrict people’s opinions and right to free speech. Norm Chomsky summed up the principals of democracy when he stated that “if you believe in the freedom of free speech, you believe in freedom of speech for views you don’t like”.

So now more than ever we must see the red tape that binds us, and fight for resistance, through music, creativity and art, no matter what the cost. In the words of a Zen proverb, ‘better to live one day as a tiger than a thousand years as a sheep’.

Of those who do get a record deal, roughly only 3% will make it past their first record without being dropped. Record companies usually want roughly a ten percent cut of the profits, and some now are requiring money from the sales of other revenue, such as merchandising, to cover their own costs. All this comes on the back of some high profile cases of artists suing their record companies over unpaid royalties. There is a lot to be said for artistic independence in the industry. Some mainstream record companies use the monopoly they have of the market, to mould it for their own purposes, to maximise the profit they make. To appeal to as many people as possible, mainstream labels promote middle of the road monotony, to maximise profit. From the late 80’s onwards many of them started to take more control of artists, managing their image, budget and their creative input, creating a stagnant and homogenized mainstream market. Therefore a certain amount of independence is vital, to balance the health of the music scene.

However powerful they seem, record labels are only marketing men. They do not make music, they only sell the artist as a brand. So a small amount of promotional knowledge, (and of course talent) can be all that’s needed. Currently major labels are tightening their belts with who they sign, due to economic recession, free downloads from the internet, and because of free music sites like Virb and Last fm. As a result, this has impacted record company profits, and the former control they had over the industry is declining. Self promotion can mean that often the manufacturer, distributer and retailer element can be cut out altogether, thereby making it a more cost effective option for unsigned artists to follow.

In 2005, Sway was one of the first artists to win a MOBO unsigned. It was one of the industries first nods to the uprising of the underground, and the power of artists who are increasingly making music unsigned. He distributed his music through independent shops and gained a strong following from there onwards. This showed that musicians can take on record labels, and achieve their success independently. Disillusioned established artists, are also breaking free of the bonds of conventional labels, to do their own thing, empowering themselves to maximise their artistic control, and profits. TY, who was with Big Dada is one such artist. Now he is managing himself independently from home to give himself this freedom.

Staying away from set labels has created an explosion in the variety and styles of music available to listen to all over the world. Previously, a small number of big selling artists would be promoted by major labels to make money, but with the internet as the ultimate tool of promotion, this has now enabled not just UK hip hop artists, but people all over the world to become successful.

New York producer, and rapper Aesop Rock, is unique because he has embraced this approach. Making music for ten years he produced five albums, all without the support of a major label, getting props from the underground and the respect of people in the industry. Visionary producers such as this are the proof that with persistence, anything can be achieved. In response to the new wave of producers who are doing their own thing, the internet has responded with sites that are dedicated to looking after people who are not signed to a label. Sites like AWOL (Artists without a label) help musicians to manage themselves. Their ethos is to treat artists fairly and help them to retain full artistic control.

Now seems a better time than ever for people to release material and promote themselves, this is not to say that the role of labels has become obsolete. For some, this traditional approach will be the key, as self reliance, and promotion does have its drawbacks- limited funding being one of them. But the rules of the game are changing, and now it is down to the labels themselves to reinvent their outdated approach when dealing with new artists.

“Of course it is, it seems that a large percentage of those under 40 think it’s ‘cool’ to be ‘bad’. This is because ‘urban culture’ - the euphemism for western black culture - has been promoted by a political/cultural elite in politics/education and in the entertainment industry. It is a political/cultural orthodoxy which negates white european ethnic and cultural identity. Thus, those who are most susceptible to this cultural domination - the young, poor, uneducated (but not always so, by any means - think of the cultural ‘movers and shakers’ in the media) take on this identity in the absence of their own being given ‘respect’. You’ll find most of the perpetrators of ‘bad’ behaviour and attitude walking and talking like ‘dey is black’. Nah wot ah mean!”

Maybe I missed something but since when was urban culture, a euphanism for black culture? and clearly, If you are poor, of course you are subject to cultural domination.

What a load of shit. I wish people would consider the argument and not look at things in such a blinkered way. People are entitled to their opinions dont get me wrong, but not when the foundations of their arguments are based on total rubbish, or just assumptions about massive swathes of society.

Maybe it never occurred to some, that people use their own brain, and make their own choice when picking up a knife, to blame it on music is a tired scapegoat for other problems in society.

Music has created the soundtrack to our lives. Whether rich or poor, it has been a tool that people the world over have used to express emotion, or to spread a political message. It is as natural as breathing, or the sunrise. Nature itself creates rhythms, it is a force that is unstoppable, and all the more beautiful because it can capture emotion in its notes. It is as diverse as the people that create it, and its power is something that we have been expressing for civilizations, in times of war and peace.

People for centuries have using been music not only to create something beautiful and unique, but as a way of expressing a political opinion or a form of protest, against racism, oppressive regimes, or social injustice. The condition of human experience, has a direct link to the type of music produced. In the sixties African American artists were calling for social change, and greater equality of rights, shown in music that was being produced, by artists such as James Brown. In the seventies, as well as being one of the most influential singer songwriters of our time, Bob Marley, was a vocal advocate of black power, and called for peace in his songs, at a time when there was violent struggle and upheaval in the Jamaican political system. The music that was being produced, was as important a part of the movement, as the political speeches and changes that were taking place at the time.

Music is such a powerful force, that governments the world over, often ban music that portrays them in a light that goes against the propaganda spin that they portray. In staunchly communist North Korea, the singer Ji Hae Nam was imprisoned for three years, and tortured for singing a song that was South Korean. All music in North Korea must be government approved, and singing the praises of communism, or it is deemed unpatriotic and punished.

The long, ongoing struggle in Tibet, for recognition of indigenous rights of its people, has produced some powerful and evocative musical results. With most forms of freedom of expression suppressed by the Chinese authorities, music remains a powerful symbol of solidarity and unity. In Tibetan society, music plays an important role, because other forms of communication are so tightly regulated. To the extent, that people embarking from international flights, have the content of any CD’s checked by the authorities as they arrive. Therefore the presence of music as a form of resistance, continues to be a vital step in what the Dalai Lama advocates as ‘non violent’ resistance.

There are some inspiring examples across the world of people using music as a tool, not only for peaceful protest, but also as a way of bringing together societies that are fractured. Radio all for peace, is one such example, a jointly run Palestinian and Israeli radio show. Its aims, are to create positive working relationships between the two sides, thereby promoting harmony, and trust. Through the use of interviews, jointly run projects, and discussion of common interests they aim to break the stereotypes that each side has of each other, and open up honest and frank dialogue. In such a politically divided part of the world, the importance of projects such as these cannot be underestimated, as no damaged relationships can be start to be repaired without open communication. Of course there is a long way to go, but examples such as these truly inspire hope.

Make Music Not War, is another online based organisation that uses music as a tool for interracial dialogue, to show the injustice of oppressive regimes to the outside world. Their view is that music is a universal tool for truth and hope, that speaks across all cultures and faiths. The diversity of music from all different corners of the world, reflects these attitudes.

The regime of President Mugabe has achieved many things. Hyperinflation, mass unemployment, the erosion of human rights, starvation of millions of Zimbabweans, the list goes on.. As journalists, and anyone who criticises the regime, are banned from Zimbabwe, people are taking matters into their own hands. Viomak, a UK based Zimbabwean protest singer, has just taken action one step further, by launching an online, protest radio. The message is clear, if the opinions of people are stifled, they will find another way to make their voice heard. With a potential audience of the whole world, online radio provides a perfect platform, for this. In between songs, political speeches and opinions are aired, making this project a perfect combination of song, and political dialogue.

Music has been, and always will be, a powerful indicator of the strength and enduring nature of the human spirit. When human rights are violated, and people are denied the right to live in a free and just society, then music will always be a peaceful form of resistance. Because music can convey emotion, and contemplation in its lyrics, its use is not just something that is aurally beautiful to listen to. It can be a powerful political tool also. We must encourage forward thinking projects, that use music, as a way of creating social cohesion, for the benefit of our society, and also the world beyond our window.

There is a wave of fresh new producers on the scene, as access to software and equipment has become easier, and more affordable than ever. Home studios, have now overtaken the presence of the traditional recording studio, bringing a greater variety of styles to the scene. These new school producers, are as diverse in style, as the equipment they use to produce their music. They are not afraid to embrace different approaches to music production, mixing a blend of new and old technology, to achieve the sounds they want. This has given Oxfordshire music a strong national presence, and credibility.

Historically, the underground scene has always been extremely strong in Oxford, with unsigned artists being well received and listened to as much as those who are established. This tradition, is one that looks set to continue. Thanks to the formulation of new nights, and social channels, such as Feel The Bass, as well as the free party scene. Free parties continue to be a great place for producers to test their tunes, in a technical sense, and also to gauge an unbiased response to their music.

In this article we showcase a range of Oxfordshire based producers. Covering a range of styles, from experimental electronica, to organic drums and bass. We asked them for their opinions on the scene, and take a closer look at their achievements so far, and their tips for studio success.

What are your names and artist names?

Tom (Necho/Dyslogic), Phil M (Phillbee), James M (Rough Quest), Alex Hope (lqdbeats), Myles, Pete and Dano (Jazz Thieves) and David May (Overcast).

What are you about musically, what kind of music do you make and what other music related projects have/or will you be involved in?

Necho/Dyslogic: Don’t know any more - used to have some idea… everything I do is heavily DUB-influenced. I like SPACE and 3d soundscapes… I like found sound and weird crackly noise… feedback loops and lots of SUB… My remix stuff is a kind of tribal electronic space dub and my original stuff is sounding very dubsteppy these days… but dubstep with SPACE… Some of my older stuff has a bit of a wonky bluesy feel… I used to play synths in a band but I wasn’t very good and my sounds weren’t really compatible…

Phillbe: I’m all about DNB hard and heavy man… I try and be as original as I can. I’m going to be working on a little collab with Marakumo from TwistedBeatz soon and am trying to get a few parties up and running in Bicester. I moved to Oxford when I was 17, was involved in the DNB scene there from the early days (from about ‘91 onwards). I was a resident at Exodus Sound System for a couple of years and a regular on the Oxford rave circuit. I moved away for a few years but have been living in Bicester for around 6 years now and been producing music for around 2 years.

Rough Quest: I like to dabble in making drum n bass and other more harder stuff, but I really do love to make ambient grooves and generally more down-tempo stuff. I think I enjoy the slower tempo more as it allows me to develop my grooves and I find it gives me a lot more space to get all the little details in there. I’m trying to get myself more involved in what’s going on here in Oxfordshire. There’s interesting stuff, but I find you have to look a bit harder for it.

Lqdbeats: Musically I like quite a wide range of stuff. From composers such as Dvorak and Bach, to Foo Fighters to Justice to drum and bass, breaks and electro. I used to play cello and did A level music and have played in orchestras and metal bands! The music I tend to make usually veers to drum and bass BPM and tends to be on the liquid/intelligent/atmospheric side of things. I don’t intentionally set out to go in that direction, just seems to happen! I also enjoy making breaks, electro and ambient stuff, wherever the tune goes really! In terms of other music projects I’ve re-mixed a tune by a lad called Dirty Barry and am in the process of re-mixing ‘breakaway’ by DJ Priors and Dirty Barry. I’ve also got some collaborations hopefully coming together this year with some producers I’ve ‘met’ through MySpace. Previous projects are a little embarrassing, teenage angst, death metal band, you get the picture… ha ha!!!

Jazz Thieves: We produce jazz, funk influenced drum and bass on a different level and a majority of the time feature vocalists, mainly from the Oxford area also. Individually we have worked on many genres of drum and bass over the years, and more recently on breaks, hip hop and a little R&B also.

Overcast: We currently make Progressive House and Progressive Breaks. Both of us have been heavily involved in the D&B scene in the past, and will be looking at producing D&B again in the future, but right now house music is where its at. I’ve performed on Radio 1 and 1xtra as well as many smaller stations. Although I’m no longer living in Oxford, my family still do, so I’m around quite a bit. As well as Drum & Bass, I’m heavily into house music, which is how the Overcast project came about.

What hardware/software do you lot use? And which is your favourite?

Necho/Dyslogic: Reaktor, Absynth, Kontakt, Live, Logic, a Mac Pro computer, UAD-1e, M-Audio FW410 (gonna ditch it as soon as I have some cash), crappy monitors, little keyboard, 1976 Fender Precision Bass and a Gordon Smith GS-2 guitar.

Phillbe: I use Cubase, alot of VST plug-ins like CamelPhat. I also use WaveLab and a little known sequencer called Tunafish.

Rough Quest: iMac, KRK r6 monitors, Shure SM58 microphone, Ableton Live 7, Reason 3, Absynth 4, Kontakt 2, Predator, V-Station, Dubstation (one of my favourites), VintageWarmer and a few controllers.

Lqdbeats: I use predominately software for my production, although I have a Yamaha CS1X, which is my only real piece of hardware. I bought this before I got a computer and software. It was a good starting point really as I learnt (through trial and error!) how to layer up sounds and what advance, decay, release and sustain do! Now it’s mostly used as a control synth, although I also use a M-audio Oxygen8 as a control surface. I run Reason 4, ReCycle and Audacity on my Mac PowerBook. I cut my teeth on Reason 2.5 and have been using it ever since.

Jazz Thieves: Lynx Aurora, Neve Vintage Pre-Amps, Folcrom Summing box, Toft eq/pre/compressor, Thermionic Culture Valve compressor, Kontact 3, Nuendo, plugins etc etc

Overcast: For software I use Cubase SX3 and Renoise for sequencing, various VST plugins - current favourites are Surge, Kontakt and Nexus. As for hardware I use Virus TI, Nord Lead 1 and 2, Roland JP8080, Motu Traveler, RME Fireface 800 and a Korg Trinity Plus with the Prophecy Card.

Have you had any success with your music (outside of the bedroom/studio) so far? Any advice on how to get heard?

Necho/Dyslogic: I’ve had a release or two here and there - mainly remixes… played Glade 2006 with my old band, had a tune played out by IDSpiral DJs at a few festivals. and got Seb Taylor from Kaya Project/Digitalis to play guitar on one of my tracks… Still haven’t found my groove as a solo geek yet though, better at producing other peoples ideas, really… Did a remix - the original artist’s label handled the rest… Used MySpace to find like-minded DJ-types/musicians and did collaborations.

Phillbe: Yeah, I’ve had a release on Darkland Recordings and an EP on TwistedNoize, which was well received. Also got a new one coming out on TwistedNoize Platinum called Switchbac. As far as airplay goes, a lot of my tunes are on heavy rotation on internet radio and also have had DJ support from Crissy Criss on 1xtra, Dr Slecta on Twisted and from DJ Rocksteady in London. Apparently someone played Switchbac at Herbal the other week! …It all happened really through MySpace and just hitting people up with my tunes via AIM. Also, hitting a lot of Internet labels and other labels and basically keeping my fingers crossed.

Rough Quest: Apart from having one tune featured in Computer Music, not much else. I’ve had a tune played in Turnmills in London, but it ended up being a tune I’d made that I didn’t really like to much! Though I haven’t done too much, I think the key is about networking really. Just chatting to people, getting to know them (either face to face or virtually) and finding opportunities to get your foot in.

Lqdbeats: I haven’t had any success so far as getting any tunes played in a club or on radio or being signed goes. I’ve had some pretty decent responses from people through MySpace… That’s about it so far!

Jazz Thieves: Yes, we were featured on one of Bryan Gee’s Liquid V mix CD compilations hosted by Artificial Intelligence in 2006 and we’ve also had a stream of releases on our own label, Pushin’ Wax Recordings since. Not to mention other releases on Keynote Recordings based in Reading, here in the UK. Meeting people and other artists in the scene, globally, in your own front room, by means of networking on AIM was a massive help on getting heard. We’ve also received continued support from many people on MySpace, however, over the years we have met many different people with links in one way or another. As for tips, today, we’d suggest hitting people up on MySpace & Dog On Acid etc - much like we did - and request their AIM addresses etc. It’s the only convenient and fastest way to go… beware though, it can get addictive!

Overcast: We’ve both had a number of releases under previous guises (Rareform/Blunt). Dave is a well-established D&B MC (Manikular). The Rareform project allowed David to tour with a live act and also work with established D&B names such as Total Science, Spirit and Simon Bassline Smith. He also had work used on television and films including a track on Eastenders! We did it the usual way really, identifying labels that are pushing the sound of music we’re writing and then sending them links to check out our tunes online/CDs. Make sure your demo is actually good - be very self critical. First impressions count and if the first tune you send out is rubbish then a label is unlikely to listen to any more. Get some web space as well and upload your tracks to it - it’s a much more convenient way to send out demos and you can always send out a CD if they ask for one.

Do you have any tips for fellow producers?

Necho/Dyslogic: Dunno really - just keep plugging away… get a set of tools you like and learn them inside out. Buying/pirating new stuff all the time won’t help you write better music. Doesn’t matter how many knobs you have to twiddle - if you can’t make good sounds/don’t know what you want to write - you won’t make good tunes. Avoid using too many loops - loops kill inspiration unless you keep mangling them up. DON’T use sample CDs - they’re shit. Make your own sounds. Try making tunes using only 4 tracks. All the kit you use is just a SET OF TOOLS - its your brain that is the important thing - Burial did both his albums using only Soundforge on a shitty PC - no MIDI. (But try to get some decent monitors and place them correctly). Learn to compress and EQ properly. Don’t use presets unless you’re going to fuck with them completely (there’s nothing wrong with using them per se - its just that you won’t learn to program synths properly if you rely on them). COLLABORATE! REMIX! Don’t spend too long on your own… you need other people’s input/comments/encouragement or you’ll just become convinced that everything you do is shite. I could go on….

Phillbe: BE ORIGINAL! No one is gonna listen or sign you if you just a sound like everyone else. Get yourself a specific sound and just work on it. Also, samples are key… the cleanest sounds you can get - always makes for better music.

Rough Quest: Really get to know your compressors. Though I’m no expert, I’ve been finding out more and more as I experiment with different ones. What they actually do to sound, how different ones have different affects etc. etc. You can really be quite creative with them. Also, always experiment with different genres and tempos - especially tempo. It’s amazing how a song can just ‘make sense’ when you hit the right tempo for it. Be open minded generally and keep experimenting with different things… I’ve made lots of wicked sounds out of just a mic and a delay plugin!

Lqdbeats: I think the best tip I can give is just go with what you think sounds good. Don’t stress or force the issue/idea if you’re having a creative block. Come back to it another

time. There have been (and will be) plenty of times where I’ve reached a point where I can’t seem to get any further. I’ve come back to tunes, days/weeks/months/years(!) when I’ve been inspired by a sound or sample I’ve found, or just with fresh ears. It’s crazy how one sound can make everything else fall into place or just listening with fresh ears can give you the idea to finish a tune.

Jazz Thieves: On a mixing level make sure there is a high pass EQ filter on each sound, removing any hum and unwanted frequencies. Also if using a sequencer with various ‘workspaces’ - set one up with your analyser, so any time you want to look at it, you just hit ‘Alt F1′ or whatever - this is a great time saver! With writing beats, its good to have a default song set up with loads of breaks on different channels that you keep adding to, all timed up. Then you can mess with muting in or out different breaks to get a new feel. With bass, obviously separating up the frequencies, and make sure its got a groove! A lot of our tunes have just copied bass lines from classic funk/jazz records but used with new instrumentation, which is a sure fire method of using tried and tested bass lines and re-introducing them to a new generation. On a more practical level, its a good idea to carry an iPod about with your tracks on and any time you are analysing tracks away from studio, write down all the issues you hear. This is a really objective way to analyse. Then, next time you load up, you can just reel off your list of issues and not have to think too hard about what to do!

Overcast: Most important is to make sure your samples are good in the first place. Read production boards etc on the Internet, as there is a wealth of information out there - and don’t be afraid to experiment! A lot of our best sounds come from when we just try something stupid in the studio - 9 times out of 10 it will sound crap, but it’s that other 1 time when you come up with something amazing that makes it all worthwhile. And don’t forget, it’s all about the detail! Finally, subtractive EQ is the way forward.

• Phillbee: www.myspace.com/philbeetunez
• Rough Quest: www.myspace.com/roughquest
• Lqdbeats: www.myspace.com/lqdbeats
• Jazz Thieves: www.myspace.com/jazzthievesuk
• Overcast: www.overcastmusic.info

Thank you to everyone involved for this article. Hope you readers can learn a little from these guys and hopefully be opened up to what is going on in Oxfordshire!

Introduction written by Ella Dickenson. Complied and edited by James Morris

We had a few submissions but we are looking for more. To give you an idea, here’s a previous selection.

If any DJs want to send in a list for us to post up on the Blog feel free!

Please include:

• Song title
• Record label
• Reason why

Email your lists to: info@bluntedpresents.co.uk

Blunted Presents can’t guarantee every submission will be published. Selected contributors will be contacted via email to confirm their submissions.

In the heart of London’s record-collecting district, more and more small shops are pulling down their shutters for the last time.

After 15 years of trading, Mister CD in Soho’s Berwick Street is the latest store to disappear - another victim of music downloads, internet shopping and CD price wars. “I’m just waiting for a lawyer to call about the lease,” says owner David Killington. “I’ll probably be here another month, but after that, I’ve had enough. I can’t manage any more.”

Mister CD’s imminent closure marks another chapter in the decline of what used to be renowned as the street with the greatest concentration of record shops in London. Collectors from all over the world flocked to Berwick Street to look for vinyl rarities in its second-hand shops, while others were tempted by the chance to snap up new CDs at low prices.

The street was so well known as a haven for music fans that it even featured on the cover of one of the UK’s all-time best-selling albums - (What’s The Story) Morning Glory? by Oasis.

But in the past six months, four shops in the area have already called it a day, while others face an uncertain future. “People over 35 are still buying CDs, but no-one under 35 is,” says Mr Killington. “We’re just going the way of technology.” It’s the same as photo developing. Why pay for photo developing when you can print your own photos at home? Why buy CDs when you can burn your own CDs at home? “It’s like a pub. Once the old drinkers die off, if you don’t get a new crowd of young drinkers, your pub dies too.”

Across the street from Mister CD, one of London’s best sources of rare second-hand LPs and CDs used to reign supreme. At its height, Reckless Records had two branches in Berwick Street, as well as further outlets in Islington and Camden. But as trade declined, the business shrank, until it went into liquidation at the end of January. Zafar Chowdhry spent 18 years working for Reckless as a soul and dance music specialist. He says sales began falling in the wake of the 11 September 2001 attacks on the US, which damaged tourism. “After that, the digital age started affecting us, eBay too. Instead of people coming in to us, they were selling things privately or they were downloading things. “The strength of the pound made a difference. We used to get so many Japanese tourists and they stopped coming.”

“Hip hop used to be king: we used to be able to sell it all the time. But it’s incredible how records we used to sell for £20 a time now go for about £3 to £4. A lot of people that grew up with the records have got older and their priorities have changed, or they already had those records. The newer generation just wasn’t interested in that kind of thing or the soul, jazz, jazz-funk kind of music.”

Wider changes in the music industry have also worked against the business model of second-hand record shops. Many dealers used to rely on a steady flow of promotional copies of new releases, sold to them by music journalists and DJs in defiance of the “Not For Resale” warning stamped on each one. But these days, many record labels no longer provide review copies for the music press and send out MP3 files instead.

“Record companies would have a band they would push. They would put out a lot of promos and send them out to as many DJs as they could,” says Mr Chowdhry. We used to get so many promos of some records that we would end up turning them down. The companies just stopped doing it because it was obviously counter-productive.”

“Many DJs would sell the records on to us and we would get them a month or two before the release date. We used to get a lot of Italians and Americans looking for the promos and sending them home.”

“We had one guy from Switzerland who would come in every Tuesday - sometimes we would take £300 to £400 from this guy. But by the end, it would be more like £20 and sometimes he wouldn’t buy anything at all, because there was nothing there any more.”

Other shops that have closed down recently include CD City in Berwick Street and Steve’s Sounds in nearby Newport Court. Both offered new CDs at bargain prices, until cut-price competition from supermarkets and rent hikes by landlords squeezed them out. But it’s not all bad news for music lovers. As that Oasis album cover from 1995 shows, the biggest shop in Berwick Street used to be owned by Nottingham-based Selectadisc.

In September 2005, Selectadisc abandoned its London store - but neighbouring independent store Sister Ray took over the premises, with owners Neil Brown and Phil Barton vowing not to let “an awful coffee shop” gain a foothold instead. Further down and round the corner, in nearby Broadwick Street, eclectic dance music outlet Sounds of the Universe still thrives, with its own Soul Jazz label releasing everything from Brazilian post-punk to compilations of jungle and dubstep.

Out in the suburbs, too, the picture is brighter. Beanos of Croydon, once the country’s biggest second-hand record shop, spent several months on the brink of complete shutdown. Now, however, proprietor David Lashmar is preparing to unveil a new idea, Beanos Marketplace. On the old store’s first and second floors, an indoor market of small-scale traders will operate from individual stalls, while a slimmed-down Beanos concentrates on true collectors’ rarities on the ground floor.

“We’re trying to reinvent ourselves in the current climate,” says Mr Lashmar. Our CD sales have disappeared in the last 18 months, to downloads, and the old stalwarts have bubbled to the top again. We’re selling vinyl, we’re selling real records again, and we’re selling our CDs for much less than we used to. The very rare records will always continue to sell and there’s a huge demand now worldwide for those.”

“I’m really scared about Berwick Street because I use it as a barometer of the business, with huge respect. It was a great area and it is dissolving in front of my eyes at the moment. That scares me and I don’t want to copy whatever mistakes have been made in that area.”

Clearly life is not about to get any easier for record shops. Back at Mister CD, David Killington jokingly suggests that record dealers should be protected in the same way as listed buildings.

“We should be listed - not the buildings, but the people,” he says. “Because once we’re gone, there ain’t gonna be anyone new.”

1. New Orleans Funk (Soul Jazz)

I think this is one of the first comps that I ever bought. Packed full of drum filled treats from New Orleans finest including The Meters, Professor Longhair, Eddie Bo and Dr John available on triple vinyl with a good loud press so ideal for playing out.

2. Saturday Night Fish Fry (Soul Jazz)

The follow up record to New Orleans Funk, with another absolutely stunning track list including classics such as Rodger & The Gypsies “Pass The Hatchet” and “Iko Iko” by the Dixie Cups.

3. Blue Break Beats Volume 4 (Blue Note)

A heavy, heavy selection from the legendary Blue Note back catalogue. Bob Dorough’s “Three Is The Magic Number”, David Axlerod with the heavily sampled “Holy Thursday” and “Bring Down The Birds” aka “Groove Is In The Heart” by Herbie Hancock make this album perfect for rocking the dancefloor . Alternatively, just kick back with your choice of poison and let these unforgettable grooves take you to another place.

4. Dusty Fingers Volumes 1-15

Classic compilations with more drums & loops than you could shake a stick at! And some helpful person has compiled a Wikipedia page with the full track listings. These records don’t turn up in record shops as often as they used to, especially the earlier volumes. So if you happen across one, definitely give it a listen.

5. Ultimate British Breaks and Beats

Part of the seminal Ultimate Breaks & Beats series, this one is made up entirely of British artists and includes a killer version of Light My Fire and the drum break from the” Are You Being Served” theme tune (if anyone has a copy of the OST, I will pay top dollar).

Words: Unia

Most of them are struggling to stay open these days, so next time you’re thinking of spending some cash, go and support your local record shop and keep the dust alive for a little longer.

In no particular order:

Soul Brother Records
1 Keswick Rd,
East putney
London
SW15 2HL

Tel: 020 8875 1018

Good for originals, reissues, new Funk & soul, soundtracks.

Intoxica
231 Portobello Road
London
W11 1LT

Tel: 020 7229 8010

Loads of soundtracks and exotica. Also put out the odd bootleg reissue.

Sounds Of The Universe
7 Broadwick Street
Soho
London
W1F 0DA

Tel: 020 7734 3430

The home of Soul Jazz Records.

Sister Ray (Selectadisc)
34-35 Berwick Street
LONDON
W1V 8RP

Tel: 020 7734 3297

Soundtracks and Funk & Soul reissues, decent-ish Hip Hop section.

Revival Records (Reckless)
26 Berwick Street
London
W1F 8RH

Not as good as it used to be.

Audio Gold (Retrobate Records)
308-310 Park Rd
London
N8 8LA

Tel: 020 8341 9007

Hi-Fi shop with small vinyl section

Music & Video Exchange

Several locations in London

These shops are always worth a look, especially the Soul & Dance Exchange in Notting Hill. Pretty much all the shops have a bargain basement as well.

Deal Real
3 Marlborough Court
Off Carnaby St
London

UK & US Hip Hop, regular instores, open mic every 1st & 3rd Friday

Hopefully people can add to this list…

Words: Unia

From Jason @ Words Beats & Life:

In its infancy, the organization primarily produced hip-hop conferences at area universities as a means of providing a framework for young black college students and their professors to understand the history and role of hip hop culture. While the early work was successful, Mr. Mutafa felt hip hop artists and scholars of his generation wanted to do more than present and perform at conferences. In response, he created a series of youth focused programs and activities to carefully bridge the gap between the critical, academic community that often sprouts up in the university, the artists who are actually creating the product and the youth who are consuming it.

My name is Jason Nichols, Editor-in-Chief of the Words Beats & Life Global Journal of Hip-Hop Culture. Established in 2002, we are the premier peer reviewed platform for hip-hop related scholarship. The Words Beats & Life Journal recently celebrated the release of Volume 3, Issue 1, entitled “The Blueprint for a Movement,” featuring original scholarship from Jeff Chang, as well as other noteworthy and upcoming intellectuals. The Journal is an integral part of Words, Beats & Life Incorporated, a non-profit organization dedicated to transforming individual lives and communities through hip-hop.

Born out of the inaugural Words Beats & Life conference at the University of Maryland in 2002, the journal aims to foster a critical analysis of the relevance, history and meaning of all elements of hip-hop culture. Along with the Urban Arts Academy, which teaches cognitive skills, learning techniques and art appreciation through writing, DJing and graffiti, the Journal is integral to WB&L’s mission of bridging the gap between the streets and the university.

Previously issues of the journal have been covered and reviewed by DC North, Elemental Magazine, The Journal of Higher Education and Provisions Library. The WB&L staff hopes you enjoy reading the journal and will consider covering it in your publication. I can be reached at Jason(at)wblinc(dot)org or (202) 667-1192.

I am thankful to be able to play my records out and I love doing it. I love to watch as I see people who know the tune I just dropped or singing along to a rare one and that gives me a warm cuddle of hope. Every time I play, I want people to have a laugh, make shapes, take the piss, wobble yer legs, all that stuff. A great challenge is when someone asks if I got any Mickey Finn (yeah it happens) and then I play something with a good break and see them grooving on it. I think we are all turning into DJs though, always on the look for new stuff and there are no limits on what you wanna listen too. People just don’t wanna get pigeon holed and no-one seems to take the piss like they used to.

I guess I see music at the very heart of culture; it is the driving force behind collected cultures as we move forward to an eclectic future. The Punks don’t mind the funk and the Funks are happy for a bit of Rockabilly, the Emo kids are thrashing out with the Metal freaks and they are freaking with the Hip Hoppers, the D&Bers are even chillin with the Morris Men and folk all dance together, a massive achievement for music culture since the days of chains, bars and knives on Brighton beach.

Unfortunately parts of England still have this violent mentality, shit, too much hippy in that. Do you think you have the freedom to listen to what ever you like without some hardcore, ‘I’m into this and that’s fuckin that’ telling you, NO! “You won’t be cool man, we’ll look fucking gay if we listen to Country & Western”. “Yeah but I don’t mind it, if we loop some of this stuff we could make some wicked D&B or a bit a Techno innit”. Probably just babble but it gives me something to think about. Enough ranting!

Thanks! Blunted and The Dugout, Boogie Basement and all the people that ask if I’d like to come play some records.

10 That Never Leave My Box - Fabulous Hand

Joseph Henry - Who’s the King - Desco

My favourite funk record of all time, it is the ultimate party vinyl and never fails on the dance floor. A horn section out of this world, bass line out of this world, drums so solid and relentless and Joseph Henry’s driving vocals make this the funky funk. “ I got it, I got the funk”, yes you did Joseph, yes you did! This record has funk so deep inside its grooves that it has the power to infest, take over and spread happiness across any dance floor. Play it loud and late, when you see the smiles on dancing faces, you shall have living proof of how contagious this record actually is.

Sharon Jones & The Dap Kings - Got a thing on my mind - Daptone

There is a link between my first two here, if anyone knows, good on ya.

It’s a classic now really, I’m sure most people know this record. Anyway, it is more than likely that the musicians who infected you with ‘Who’s the King’ are now, 3 years later and with Miss Jones, releasing another funk virus. Symptoms are, itchy feet from pounding drums and bass causing parts of your brain to react by moving your body in all manner of funky ways and sure as shit, some funky geetar to get right in on those hard to find funky motor neurons that let you find the groove as you should, hard hitting sister funk! Bosco Mann could possibly be a hero for me.

Two modern funkers that’ll have your party stormin’ by mid-night.

Latin Breed - I turn you on - Funk45

Sadly I cannot afford an original but hey, it’s the tune right. Oh it’s the tune all right, some serious funky organ and booty slappin’ bass just right for the romantic side of your funk. I’ve seen ya, bumpin’ & grindin’ and moving up, getting all sexual on the dance floor. Its an early player but is sure to bring the punters. This guy asked me to DJ his wedding I thought yeah fuck it, why not? Man the room was full of people who didn’t even know funk let alone want to hear it at this wedding. I shit you not though I had grannies throwing shapes, children poppin’ little grooves, the groom and his mates were down and everyone seemed to like this record. Of course they did not get most of my records and it was hard explaining to them that I have none of their requests but I trooped on and gave them the funk no one wanted except the Groom.

Bobby Holley - Moving Dancer - Weis

Deep soul records are something I just don’t have the balls to play. I don’t know why? Maybe I think at the time I’m not gonna fit it in to my set or maybe the depth of it will throw off the crowd I spent time on building up. So actually I have never played this record out. However! It never leaves my box purely because it is a treasured vinyl. Lyrically it’s tuff and it has a lovely step to it, not hugely rare or sought after and simply gets deep into me, true grits. Another deep soul vinyl of ilk would be Frankie Coe & The Mighty Soul Messengers ‘Get It Jerk’. I’m gonna have to get off my funky funk and play them soon.

The PCs LTD - Fast Man - Funk45

Party you want? Party you get with the PC’s ‘Fast Man’. Super horn driven funk that takes everything to another level, all the screams, shouts and laughs are what really get me involved. The half way break down with a shout of “F, A, S, T”… drop, back into party horns and watch the crowd go pignuts over it. Oh yes! Dynamite people, Dynamite!

The Blenders - Nothin’ but a party - Tramp

Tramp Records is the home of hardcore funk collector, Tobias Kirmayer and if you are looking for quality reissues of funk rarities or just something funky, then pay him a visit at tramprecords.com. Part 2 is the side for me, a very similar vibe to that of ‘Fast Man’ and they sit very well together, you’d almost believe they were the same band. Again, super funky horns, organ grinds and FAT bass but best of all the whole band are in there shouting and screaming like there is no funk in tomorrow, “ain’t nothin’ but a party”. Damn right when it comes to this record.

A.C. Reed - Boogalo - Tramp Nike

66’ Chicken pickin’ geetar with a thick spread of R&B/Boogaloo, a sure bet for a gritty start to the nights dirty Mod funk session. It turns empty dance floors into lively shapes of butt grinders and titty shakers. Is rather a prize vinyl in my humble opinion (not for price or limited availability), for its value in raw party funk is worth two of Brown’s bags I’m sure.
And for the people who’d never consider asking if I have a ‘Boogalo- Tramp’ that I could spin for them…..

James Brown - Sex Machine - Polydor

Everybody knows it, everybody loves it, nuff said.

The Maskman & The Agents - Stand Up - ViGoR

A strong funky message to the brothers and one of unity, vocalised in the charismatic funky vibe of Harmon Bethea aka Maskman. It’s clean production and tight musicianship hand over a Brown-esque track for Harmon to do his thang which he does so well. A lyrical genius that I don’t believe is credited, as he should be, the Maskman has had many recordings under many names/bands, spanning from the late 40’s to the early 80’s. Some of these are as whacky as it comes but ‘Stand Up’ I believe is a serious message and yet Harmon still makes it fun and funky and fucking rockin’ on the dance floor. Another track by these lads (as I’m sure you Hip Hop sample freaks know) is ‘One Eye Open’, stupidly badass breaks.

Deezer is free music on demand without the need to download. Basically when you get to the site just sign up and you’re away.

The confirmation email sells it pretty well -

First of all, we are thrilled to welcome you on Deezer. Enjoy thousands of songs and albums with NO LIMITATION and it’s totally FREE. Deezer revolutionises the music world by offering you a 5 in 1 service:
1-LISTEN for FREE to your favourite tracks with no Limitations
2-CREATE your own Playlists
3-DISCOVER new artists with our exclusive SmartPlaylist
4-UPLOAD all your songs in your unlimited personal storage space and participate to our growing song data base
5-BLOG & SHARE your favourite tracks with your friends… and many more to come.

If you like the sound of it then head over to Deezer right now.

The first city I looked at (walked about in a bit of a haze and took some photos) was Bristol, which as you probably all know has far too much to look at all at once, so here is just a little taster of what it has to offer…

Klek

Posh Monster

Scof

Ivan

Dissident

Jean

Flom

Banksy

Unknown

Feel free to email any pictures you have of street art from cities around the UK - the next one is going to be on Oxford so any from there would be much appreciated.

Email hilo(at)bluntedpresents.co.uk with the subject Snapshot and the name of the town.