Vector Burn, hiatused Drum & Bass moniker of US based producer Oliver Scott, entered the books in the years after the Millenium. His music was acclaimed and celebrated among DJs and fans of technoid DnB for his unique sound, heavily Techno-influenced percussive textures and radical abstinence from traditional Jungle/Drum & Bass clichés.
When growing up he played bass in indie/hardcore bands, and started producing Drum & Bass in 1999. Two years later he broke into the scene and quickly gained followers worldwide through his releases on labels like Cyanide, Technorganic, Scientia, Replicant Audio and Critical. On the “Replicant Audio vs Critical” Knowledge Mix-CD he had three of his tunes featured. Around that time he started his own label named Alloy Recordings together with Castor (with whom he also released a number of studio collaborations as THE RIOT some years later) that never got off the ground and ceased to exist after putting out testpress of their first planned release.
In time Vector Burn branched out to harder tunes and overall covered a wide spectrum of influences and nuances within his unique trademark sound, somewhere between cinematic and technoid. After a couple of years of exposure to a broader audience through labels such as Beta, Habit, Human Imprint, Barcode and Metalheadz, his Drum & Bass release career gradually phased out. His last known releases were a digital tune on the US based label Force Recordings in 2008 and a remix on Fanu’s second Album on his own label Lightless in 2009. Today, most of the old interviews, mixes, articles and such (including Vectur Burn’s own old websites) are offline; the digital past slowly degrades and the knowledge of things past blurs in detail as we progress. But the releases remain and give reference in the rubble of time.
Oliver Scott still makes music today under a number of pseudonymes (Lightning Tree for slow trip hop, Forward Remnants for experimental electronic, Grandfather Moth for experimental ambient, Baphometrics for extreme electronics), but has basically left the mainstream dance music scene. He is still involved in the music industry as he has been working in various capacities on music videos, design and animation. However, quite a few of his older Drum & Bass tunes were never released at the time. Some had been signed for releases that didn’t happen for one reason or another (on Replicant Audio, Rumble, Hiatus, Logistic, Square One, Defcom, Renegade Hardware and Vector Burn and Castor’s own Alloy Recordings), a handful of leaks have circulated on Soulseek and the likes for a decade, and one of his remixes (incidentally a bootleg in itself) was actually bootlegged to a whitelabel vinyl (DNB001) from such a leaked mp3 in 2003. But more than half of Vector Burn’s tunes were never available to the public, aside from some appearing in DJ sets many years ago.
For this release, the artist spent months combing through his archive and network of old contacts from back in the days to gather tunes, including many from his early years, some of which only existed on other people’s hard drives anymore. He reconstructed and salvaged some material, collaborated with designer Chadwick Halbritter on the artwork, compiled the album and had it mastered by Eric Racy (who also mixed the latest Photek album)… And now he hands it to the public as a massive free download album in two volumes, asking for nothing in return (not even a mandatory “like” on his Facehook page).
This might well be one of the most gracious gifts a Drum & Bass producer has ever made to their scene. There are predecessors on the label front – Kniteforce, Nerve and Tilt have put their release catalogs online as free mp3 some years ago (although Kniteforce eventually took the links offline and went back to commercial), and a number of artists have released tunes on existing Drum & Bass netlabels and/or made tunes available as free downloads on their websites or “social” profiles. But so far, few (if any) producers in Vector Burn’s league have put almost their entire catalog of unreleased tunes out for free, with such effort to put it in a decent form, let alone years after (more or less) leaving the scene. This is a massive heads up to all those who still appreciate the early millenium tech funk, Vector Burn’s works in particular, and to all who are in it for the love of music:
“Thank you for downloading / sharing / stealing this album.”
johannesvanbebber and loom (together: aka Manosonique) from Mannheim (Germany) are of the new generation of digital music producers… People who produce tunes and put them online (on Soundcloud or whatever), but then leave it at that; people who are creative with sound and dabble freely in various styles and genres without actively pursuing recording artist careers. This is their first official release.
johannesvanbebber has been playing several traditional instruments since his childhood, occasionally connects with other producers for collaborations here and there and does multimedia-live-performances at theaters and festivals in Frankfurt, Giessen and Berlin together with various people (under monikers like “musica practica,” with a strong focus on theoretical & reflective approaches).
loom has gained a standing as a DJ in the local Techno scene around Mannheim.
Jimix is a complete newcomer from the Ruhr region in Germany. He is the typical bedroom producer without any public history outside of his Soundcloud profile; his only musical education came from his parents being into Blues and Psychedelic Rock. Seemingly out of nowhere he makes Drum & Bass tunes with soul that need to be made available to the general public…
Noya is an Italian DJ who came to Drum & Bass in 2003 after having been a drummer in several bands. He started to produce tunes (using a combination of hardware and software), contributed to the formation of the north Italian Drum & Bass scene via promoting events with his crew Delta9 and is living in Berlin now. He is also behind Delta9 Recordings, but debuted on a free download compilation on the Australian, now defunct netlabel Materializm. He has also put out a remix for free on Madblock.net and has an EP forthcoming on Ex-Machina.
Since www011 in 2011, Acid_Lab aka Kodama aka Parametric has not at all slowed down with several more EPs and features on Dysfunk Music, Machinist Music, Break-Fast-Audio, Absys, Digitalgewitter, Turbine Music, Syncopathic, Delta9, LW Recordings and most recently Secrets Of The Sun. Despite the growing musical variety of his output under his three monikers on over 20 labels, this particular EP here originally started out to continue the fun tradition of Acid_Lab’s bi-annual Internet releases consisting only of distorted skulls and oldschool Photek style Techstep. But, being the third of its kind, it grew a third tune and then attracted a fourth one (actually his first ever tune sent out to labels, six years ago, finally available publically in its only remaining version), as if to end this subtle cycle of musical fixation, just as Acid_Lab keeps experimenting with sounds and styles. For example, His album scheduled for T3K is a journey through the minimal and halftime Drum & Bass sound. Acid_Lab is also signed to Trace’ new label 117 and continues his musical journey with many more tunes forthcoming on Machinist Music, Delta 9, Tech Cycle, Order In Kaos, Eastern Promise Audio, Danger Chamber, Digibeat Music, Interactive, Urban Poetry, Dust Audio and Omni Music among other, more “secret” labels.
JOIX is a deep Techno producer / liveact performer from Mannheim (near Heidelberg), Germany, originally from Berlin. One of his distinctive features is the usage of dynamic audio signals instead of looped samples. He generates them by himself in his studio with his analog modular synthesizer, and the irregular voltage levels inside the analog gear give his tunes and liveact performances a very own, dynamic, voluminous and warm depth. Also he uses a Didgeridoo and Facebass.
His onstage history exceeds 15 years (spanning from raves to clubs like the Tresor in Berlin and radio stations like Evosonic) and for quite a while he co-organized legendary events such as the “Harlequins’ Castle” festivals in the rural woodlands of Southern Germany.
His solo release career started comparatively late. He self-published one CD album in 1998 and one vinyl single together with his back then studio / liveact partners of “Der 7. Weg” under the “Harlequins Universe” crew flag in 2003 and after that pretty much disappeared for half a decade to focus on building his studio and further developing his own sound. Then in 2010 he released his first solo tune on a free download compilation, two remixes on Electrogravity in 2010 and 2011, his debut album “Random Control” on LCR Records in 2012, also 3 EPs and a handful of compilation features on Anecdote, Plastiq, LW Recordings, Electrogravity and LCR in the same year. Now in 2013 he has another EP forthcoming on plunk! in April, the same day he performs live at a Techno Liveact Special of an audiophile Drum & Bass event series in his home town Mannheim (which he also co-founded in 2012, following his album release party); two weeks after that comes his next live appearance in the hottest club in town and other than that he just keeps making tunes.
As some may recall, kr4y is a humble and dutch producer/DJ who has been around in music and the Internet for a while.
Over the recent two years he has slowed down a little on the netlabel front compared to the first decade of this century. His and Arje’s own netlabel Beataddiction is offline and kr4y himself has only put out a remix on T-FREE‘s 35 tunes strong “tl;dr Happy End” LP in 2011 since www007 in 2010. Other than that he had another couple of Drum & Bass tunes released commercially (two tunes on Section 8, two more on a joint EP on Extent and one Remix-EP on T3K).
But he has not completely succumbed to relative laziness – he has kept himself busy in the studio, has stepped further into Techno, released his first EP under his Willem B moniker on Filter (“techno with balls and brains”) and continues to share his ideas (and a good handful of his Techno tunes so far) with the rest of mankind.
He ‘returns’ to the free scene with an inoffensive outing on this obscure netlabel of yours truly. His “b-sides LP” is a selection of formerly unreleased material from 2000 to 2012 and consists of 54% Drum & Bass, 23% Hiphop, 16% Techno, 3% Dub and 4% beatless sound experiments, with an overall musical range from soft and melodic to dark and technoid. It displays kr4y’s evolution from melody-driven loop music to threedimensional technoid “post-music” and is coherent to the evolution of electronic music over the past couple of decades as well as to humankind’s technological and cultural development at large.
(Technical note: some of the tunes are unretrievably lost in their original format and this album contains their last remains. So the bitrate in some cases is not the usual 320 kbps but instead 256, 192 and in one case only 128 kbps. Apologies for that – but the alternative would have been to leave them out and it’s a lost works album anyway, so there.)
Computers have made potentially all information available and transmittable to every entity with access to the world wide web, thus propelling human culture rapidly to unexpected heights (and quite likely its zenith in the post-millenium online-forum era before the takeover of social networks). Borg perfection is still miles away but we are certainly getting closer ever faster. Via the Internet everyone can, in principle, communicate with everyone else and this affects all areas of the human realm and its deeper-growing interconnection with evolving technology.
In regards to music (as all other forms of production of content/data and even physical forms) it has become normal that fans/consumers can reach artists/producers directly (via text, visually and audiovisually both time-shifted and in real-time), give feedback, make specific requests and thereby influence to varying degrees the respective production, publication and even conception processes. This obviously brings advantages as well of disadvantages with it (better connection between producer and consumer means better reception but also more work for producer), but by broad consensus the advantages prevail.
This release njhah is as much the result of such a positive feedback loop as of the cultural conditions created through the media environment “Internet” itself: Fans/followers of kr4y (aka kray-zie aka prince kray aka Willem B) hustled him to let out more of his tunes, including older ones that didn’t make it onto a release at their time, and with this huge LP on a netlabel now he obliges with great generosity while keeping his technical effort with the publication at a minimum level, leaving himself free for new productions and experiments under his two still-active monikers.
320kbpsmp3, 4:52 min: Hoob – “Pug On Extacy” (Radio Version)
320kbpsmp3, 4:52 min: Hoob – “Pug On Extacy” (DJ-Version)
Internet Recordings is proud to present this piece (in two versions) by Hoob, a producer/DJ from Austria who has been passionate about music from his childhood on. Later he studied instruments, composition and studio production at the University of Music and Performing Arts in Vienna, but basically dropped out to fully concentrate on (“uplifting”) Drum & Bass. So far he has released a concept EP on Point Audio , a remix on High Tension and two tunes (plus a free one) on Abducted Records. Recently he has been working on more collabos with Isee, Joe Ford and MC Flax and is detailing the plan for his new studio. More of his tunes are to be expected this year on High Tension and other labels.
Here is a short mix recorded by Hoob on the occasion of this release:
Jumpat from Cologne, Germany, had been deejaying the oldschool way for almost a decade, with additional Turntablism skills, playing exceptionally tight Drum & Bass sets and beeing successful in this respect (= getting booked) when he began to accumulate production skills in 2009. He has been working on his own tunes ever since, and so far he has released one of them on Cyanide vinyl, together with BTK, and another two on Basswerk Files. More are scheduled for two EPs on Basswerk and T3K Recordings.
Budoka, based in Darmstadt near Frankfurt in Germany, is a passionate music freak, producer, DJ, musician, occasional event promoter, co-owner of the defunct Drum & Bass label Tilt-Recordings, founding member of the Phishmaol Crew of (g)olden days (together with his brother DJ Malice, forgotten genius Rayman, veteran MC Santana aka Semtex and DJ Gargamel aka Tyrell aka world famous Techno producer Jens Zimmermann among others) and proffessional sound engineer at a public broadcasting radio station. He has been active as a DJ in the German Drum & Bass scene since the mid/late 1990s and was playing drums and guitar in a good number of bands from Hardcore/Metal/Punk to Reggae and Live-Hip Hop. He has also been busy in the studio producing Drum & Bass (mostly, but not only, technoid and dancefloor oriented), the occasional Techno/House tune and beats for the Hip Hop project Oberton together with his band and crew mate Eli MC (in 2003 they put out a 12″ EP with six tunes via their own one-off label “Traumsoldaten Records”).
Over the years Budoka has released 10 Drum & Bass tunes on eight 12″ vinyl singles and five tunes digitally via Tilt-Recordings (all available as free mp3 downloads today), another tune on the infamous German Neurofunk label Protogen and one on .shadybrain (the first commercial digital Drum & Bass label). He has also put out 13 free tunes on T-FREE and one each on Silbarueckenbeatz Entertainment and the Future Forum Sampler 2010 plus another 3 (inofficially) via Tilt-Recordings. Several more are scheduled to come on Silbarueckenbeatz, T3K Recordings and (in 4 days) on Delta9.
Internet Recordings goes into 2012 with www012 by Benou, a french producer, DJ, musician and promoter coming from the french Metal and freeparty scene. He performed and released an EP and an album with the band Cubensis, released three Hardtechno 12″ vinyl singles (two in 2006 and one in 2008) on Protoprod (a sublabel of the mighty french Infrabass sound system / label collective) and has also been exploring Bass Music and the DOA Grid for a while now. This is his first officially released Drum & Bass tune.
The tenth outing on Internet Recordings brings Techno and Drum & Bass together under one hat, after 11 Drum & Bass tunes on the first 8 releases and recently two Dubstep tunes on www009. It comes from Sublimator, a producer and DJ from Slavonski Brod in Croatia. He is mostly active with “Minimal, Techno and House sounds” but also makes beats in the language of his other love, Drum & Bass. In 2010 he released 8 Techno tunes on Howling, Tanztone and Nanotech Records, now in 2011 “Snore” is number 9. “2nd Try” and “Understand” are his first released Drum & Bass tunes; more of them are in the making and further Techno releases are on the way.
Apotheist, like El Haijn, is a member (the youngest) of the Ginyu Force crew in Vienna where they organize parties from time to time, mostly with Drum & Bass line ups. In production he focusses on Dubstep and combines it with elements of Classical Music. He as well has released some tunes on Dub Bullet and Twenty/Twelve Netaudio.