Miscellaneous free Drum & Bass tunes

Published 2017-07-01 in label info / blog updates with these tags: , , .

In the momentary absence of new release on Internet Recordings,
here is an incomplete collection of various other free Drum & Bass tunes:


www027: Meta4 – “Scatterstep EP”

Published 2015-12-17 in releases with these tags: , , , , , , , , , , .

320 kbps mp3, 4:11 min: Meta4 – “Scatterbrain”
320 kbps mp3, 5:30 min: Meta4 – “Scatterbrained”
320 kbps mp3, 4:51 min: Meta4 – “Dadstep 1.0″

Meta4 aka Tom Spragg from Southampton is an old dog teaching himself new tricks. He used to release Techno and Minimal Hardcore in the early/mid 90s in groups such as Caustic Visions and Alien Disco on Industrial Strength, Network23 and on their own labels. He is also open to cross genre experimentation and has had a long term love relationship with Drum & Bass (and a release on Fuze Recordings together with Lynx). But only recently has he began to put his two decades of experience with studio production into solo tunes at all, and moved on to a proffessional bedroom production environment. This tree has borne fruit, like this sweet Techno tune on 7teen Records just this summer, and is now branching out to the Internet with these two faces of a swinging Drum & Bass tune alongside the historically preminiscent Dadstep.

Meta4 links: Soundcloud, Discogs

www026: Sunder – “Rise Up”

Published 2015-12-03 in releases with these tags: , , , , , , .

320 kbps mp3, 4:55 min: Sunder – “Rise Up”

Sunder is one of the busier Adam Millses in London, but he originally stems from Chelmsford, Essex (where Britain’s smallest cathedral is currently still standing). His is a classic Drum & Bass background, in that he began by pursuing a classic non-electronic music hobby. He started playing drums at the early age of 12, was in a couple of Rock bands and taught himself how to use pianos and guitars. At the age of 16 he discovered bass, went into production and two years later he had one of his (4/4) tracks played in a club. Another year later the two came together for him when he attended his first DnB event (a Hospitality night) and was there bitten by the infamous bug.
Today he has built up a solid homestudio and uses a combination of hardware and software on his ongoing quest to condense inner beauty into his own unique menage à trois with heftiness and precision. To pass the time until producer superstardom he has joined an electronic band (the hemispherical live act Weisman) and is also in the process of building up his DJ career from the ground, whilst slowly manifesting and climbing the steps towards his future motion picture soundtrack aspirations. Oh and he has an academic music production education and proffessionally works in the actual music industry as well. As his band have been collecting gig experience and is currently releasing their first single, now is a jolly good time for this his first solo outing. Proof is in the tune, this guy’s future writes itself if only he finds the time to make more Drum & Bass (where the money’s at).

Sunder links: Soundcloud, Twitter, Discogs
Adam Mills links: Soundcloud, Twitter

www025: AK aka Aljosha Konstanty – “Unspoken Words” / “Dead Ringer”

Published 2015-03-20 in releases with these tags: , , , , , , , , , , , , .

320 kbps mp3, 4:30 min: AK (aka Aljosha Konstanty) – “Unspoken Words”
320 kbps mp3, 3:29 min: AK (aka Aljosha Konstanty) – “Dead Ringer”

AK aka Aljosha Konstanty, born 1998 in The Netherlands, is an underaged, German, somewhat British and selfproclaimed Drum & Bass musician and online radio DJ with roots in Kassel. He started making beats and gradually diving into the world of fine music production at the early age of 14, inspired by the works of Armin van Buren. Three years later he has already gained a considerable fanbase and sports releases on labels such as 3886, Se7enth Fury Grammaton, Enchanted and Lungfiller Records.

He started with 4/4 oriented styles and had a succesful early career with excursions in more than one EDM genre. However for a couple of months now his focus has been circling over melodic Drum & Bass. And aside from stereotypical features of the modern young EDM producer/DJ (such as digital DJ-performances and multi-genre-capabilities) he displays some rather unusual characteristics… Being interested in vocals and musicality, he has done a huge load of Drum & Bass remixes of pop music tunes (partaking in numerous remix competitions and getting experience). He also managed to bring his production skills up to par over a really short period of time. What’s more, he makes proper musical tunes on his own devices. And he keeps refusing to put his tunes into DJ-compatible structures, explicitly striving to make songs rather than formulaic tracks and keeping them short and sweet with the opposite of repetition overkills.

Approaching the end of 2014, Aljosha Konstanty began to sign tunes to the netlabel
Surreal Recordings, and also with one of its business partners, edm.com and drumnbass.net in order to further his career. Both these websites deliver huge numbers of tunes categorized in almost two dozen genres without applying sub-generic distinctions within these genres anymore. Both websites are also outlets of artistintelligence.agency, which again is a data collection node of a Denver, Colorado based company named “The EDM Network, LLC” that is in the process of swallowing bunches of EDM-relevant domain names in its mission to expand its “reach and influence” to basically enact its “philosophy and vision for the future of EDM” via infiltrating users’ machines by gaining access to their social network accounts. They are basically the antithesis to both artists marketing themselves.

In other words, there are companies today that play a role somewhat similar to that of the major labels in the old music industry – that is, they openly attempt to actually shape and dominate the market for particular styles of music in complete disregard of their respective history, traditionally relevant labels, figureheads and developments in the scene at grassroots level. They collect artists like assets, operate on the sole basis of numbers and project the usual artificial image of customer friendliness. In the end it is no different from what happens to ALL fields of productivity and industry on this planet when they fall prey to industrialisation and mass monetarisation – monopolies take over, and the inevitable outcome is merciless mechanisation and standardisation of content production.

With the music industry in particular, the Internet had set the major label’s monopolisation attempts back for roughly a decade and had even started to gradually bring them down – only to give way to a worse kind of monopolisation now. And the strategies applied by these companies include (among giving free tunes out, like many traditional labels have taken to) gaining access to user’s scial media accounts. They use the users’ uncritical indifference towards the actual sources of the (musical) products they consume, similarly to other industrial branches and markets. This may have an (un)foreseeable impact on electronic dance music itself (across many genres) and consecutively on rave culture.

Presently, EDM.com and assorted affiliates are one of the new big industrial players on the EDM market that emerged from the impact of the Xth wave seminal, true post-neurostep mainstream playaz (such as Skrillex, Deadmau5, Feed Me and Noisia). Those companies are currently in the process of finally establishing a “new” business model to this market (former scene) – a global commercial multigenre music outlet chain for producers and their tunes that is neither a label nor even trying to appeal to the traditional scenes of the respective music genres (not to their fanbase and not to their established players). As a matter of fact, this business model is entirely not new. Some 8 years ago, Digital-Tunes.net emerged as a promising startup and challenged Beatport’s dominating position on the digital (DJ-)music sales market with various details of business conduct, one of them being the releasening of exclusive material (which is how Materia’s epic tune “React” finally became accessible to the general public), and there are doubtless many more examples on a smaller and probably also bigger scale.

Perhaps these new companies today will end up breeding a new community which may be practically removed from the circles that once defined music scenes; but hopefully not completely governed by market law (the law of money) either. Fans/producers surrounding companies rather than older DJs/producers could well give rise to an entirely “new” form of counter culture (in fact many works science fiction went into this) that might be the best caricature of marxist logic in the music industry yet. Just as death provides ground for new life (one of the oldest “secrets” among traditional cults and wisdom schools – death and antagonism expressing into the literal bearers of new material life, whereas oneness rather tends to transcend timespace and cyclic materialisation habits towards Jacob’s ladder, according to a long dominant european school). Either way, in this musical new world the Internet is as finished or not finished as all netlabels within the Drum & Bass scene, whatever that is. So all that’s really left is to continue business as usual while hailing the better choices among the stars of tomorrow – and AK aka Aljosha Konstanty certainly should be one of them. His milestone “Philosophy” is ample proof of that, but you should check out his other tunes on his Soundcloud profile as well, many of them being free downloads. This release here is just two of them.

Aljoscha Konstanty links: Homepage, Soundcloud, Facebook, Discogs

www024: Ebene X – “Hoffen” (resurrected album from 2001)

Published 2015-02-27 in releases with these tags: , , , , , , , , , , , , , , , , .

01. “Schmerz”
02. “Neuanfang”
03. “Engel”
04. “Sehnsucht”
05. “Toleranz”
06. “Illusion”
07. “Zerfetzte Seelen”
08. “Der Vertrag”
09. “Leere Strassen”
10. “Hoffnung”

Streaming in external music player: .m3u playlist file

Download all-in-one (320 kbps mp3):
www024__Ebene_X_-_Hoffen.zip (mirror)

Download all-in-one (wav):
www024__Ebene_X_-_Hoffen__wavs.zip (mirror)

Artwork in higher resolution: front, back, CD label

Ebene X is the oldest solo alias of one humble Palatinian whose Christian name is actually Christian. He is an underground musician with a small town Punk/Hardcore band background who branched out into electronic music production back in the 90s, inspired by early Autechre, Aphex Twin, Ma:ssive Attack, Speedy J and more experimental acts, and finished his first solo album “Hoffen” in 2001, before the arrival of the term “emo” in the local scene and after several years of work.

Some of the tunes originally came into existence on an old cassete multitracker from an analog drumcomputer (Yamaha RY30) and instrumental & vocal recordings, at a time when the term “Internet” was known only to some thousands of PC nerds worldwide. In the process, Christian began to experiment with digital sequencing via a very limited DOS tracker. He eventually switched over to a more complex tool named Acid and continued to use a lot of self-recorded guitar and bass guitar riffs and samples together with one-shots and pieces from Rebirth and the likes, finding his own aesthetics on an exploratory journey through different methods of sound creation.

When the tunes were fully developed and the album was ready, Christian distributed selfmade copies among friends and in the local scene (proper hardcore). He also sent some copies to magazines and labels and scored reviews in the “Sonic Seducer” und “Black” magazines (which are long lost by now – only few traces remain online). At that time, the advent of the mp3 scene was well underway and the music market became increasingly tighter; at any rate “Hoffen” was not picked up by labels. In 2003 it received a significant touching up, which did not change the market situation either. The album remained unreleased, safe for the local copies from 2001. Ebene X did not become a rich and famous name. So he continued to create music in his free time for himself, as a hobby, until this day.

In the millenium years he made a good bunch of Techno and Drum & Bass influenced tunes, and ended up putting a bunch of them online via Last.fm. Shortly after, he made a rather unlucky experience with a commercial digital label which led to him basically abandoning his old moniker and staying offline for a while. But he eventually resurfaced, with some of his ideas put loosely into Drum & Bass forms, and started uploading music again under the new name of KoolaKooka. He also uploaded a half electronic/crossover German “Downer Rock” mini-album as Alltagskopf most recently.

Despite almost 20 years of practical experience in making music on- and offstage, and connections to other artists and people in the industry who conveyed to him the practical merits of industry standards many a time, Christian still displays little intention to follow stylistic trends and equally close to no motivation to make dancefloor compatible tunes. Although often playing with forms of dancefloor music genres, he keeps aiming at homelistening mixdowns and expressing inner states rather than trying to abide by clubtrack guidelines, as if being his own target audience. His focus remains on creating and “breaking” riffs more than on drum tracks. The result is lovely deep, playful music flowing from gaping cracks in unsuspiciously generic rhythmical background textures; esoteric in many respects.

Seemingly uninterested in public success, the Internet clearly is the perfect place for Ebene X. Enjoy these 10 lost pieces of music (in their 2003 versions) from a forgotten era when netlabels were invisible nerdfests hidden in dark corners online, making tunes required special equipment and vinyl & dubplates were the only means of getting them played in clubs! Just close your eyes and think of…

Ebene X links: Soundcloud, Last.fm, Discogs
KoolaKooka links: Soundcloud, Last.fm, Youtube
Alltagskopf link: Soundcloud

Download statistics update

Published 2014-12-11 in label info / blog updates with these tags: , .

Update on the statistics data from the primary source. Again not included are Soundcloud downloads (some tracks there are already down due to limited space) and mirrors like Archive.org which would add (in some cases substantially) to the numbers.

  Releasedate Hits Traffic
www001: Mefjus – “Fugly Habits” 2009-09-10 15,756 32,251,670
www002: Acid Lab – “Fallen Angel” 2009-11-04 15,476 26,477,349
www002: Acid Lab – “Nuclear War” 2009-11-04 13,899 26,150,153
www003: Kaiza + Shots – “Starkstrom” 2009-12-07 16,683 34,786,027
www004: Paul Saint Jack – “Timeless” (Mefjus + Bowser Remix) 2010-02-21 23,579 50,422,010
www004: Paul SG – “Grey Skin” (Mefjus + Bowser Remix) 2010-02-21 11,507 31,053,770
www004 .zip 2010-02-21 2,806 14,517,044
www005: Arje – “Something Better” 2010-04-29 16,042 36,035,612
www666: Zardonic + Replicator – “Ten Commandments” 2010-10-27 14,083 28,688,735
www007: kr4y – “Boodshed” 2010-11-07 13,585 22,933,624
www007: kr4y – “Gritual” 2010-11-07 13,655 28,683,104
www008: Synode + Hench – “Sulaco” 2011-06-02 7,578 4,024,996
www009: El Haijn – “Surface Of The Sun” 2011-07-07 5,841 4,553,336
www009: Apotheist – “The Darkness Inside El Haijn Remix” 2011-07-07 4,918 3,203,177
www010: Sublimator – “Snore” 2011-09-12 7,098 3,926,877
www010: Sublimator – “2nd Try” 2011-09-12 7,070 3,983,785
www010: Sublimator – “Understand” 2011-09-12 4,910 2,604,570
www011: Acid Lab – “Quadrant Delta” 2011-09-27 4,386 4,726,390
www011: Acid Lab – “Fear Of The Dark” 2011-09-27 4,648 4,302,837
www012: Benou – “Born Ready” 2012-03-15 3,086 2,427,875
www013: Budoka – “Yellow Cake” 2012-05-28 2,909 3,986,467
www014: Jumpat – “Newskull” 2012-12-06 2,285 3,313,048
www014: Jumpat – “Skeletor” 2012-12-06 2,242 1,854,183
www015: Hoob – “Pug On Extacy” (Radio Version) 2013-02-07 1,970 1,638,191
www015: Hoob – “Pug On Extacy” (DJ-Version) 2013-02-07 1,540 1,894,765
Hoob Promomix (with www015) 2013-02-07 1,207 1,635,901
www016: kr4y / Willem B – “b-sides LP” .zip 2013-02-27 875 44,482,701
www016: kray-zie – “Breaking Glas” 2013-02-27 2,328 1,237,141
www016: kr4y – “Turbo Encabulator” 2013-02-27 867 1,020,507
www016: Willem B – untitled 177f 2013-02-27 883 1,076,170
www017: JOIX – “Feuchter Traum” 2013-02-27 2,026 3,043,426
www017: JOIX – “Schlummernde Kraft” 2013-03-12 1,385 2,655,657
www017: JOIX – “Strange City” 2013-03-12 1,538 2,129,332
www018: Acid_Lab pres. Kodama – “Radius” 2013-03-27 1,408 2,618,828
www018: Acid_Lab – “Warpath” 2013-03-27 1,766 2,329,292
www018: Acid_Lab – “Autumn Days” 2013-03-27 1,774 2,655,577
www018: Acid_Lab – “Insider” 2013-03-27 2,283 1,798,483
www019: Noya – “Nine Six” 2013-04-29 1,908 3,925,988
www020: Jimix – “Ubiquitous Sun” 2014-01-03 627 1,532,575
www021: johannesvanbebber feat. loom – “maulwurfkolonie” 2014-03-11 52,380 95,562,270
www021: jvb – “das prinzip sirup oder die utopie des sozialistischen staates” 2014-03-11 563 1,299,428
www021: loom feat. johannesvanbebber – “maulwurfkolonie” (loom Remix) 2014-03-11 2,435 9,989,472
www022: Vector Burn – “Ghost Maps” LP Sampler .zip 2014-04-09 860 34,579,919
www022: Vector Burn – “Spider Garden” 2014-04-09 645 1,481,459
www022: Vector Burn – “JamOnIt” 2014-04-09 5,618 13,149,802
www022: Vector Burn – “Seven Thorns” 2014-04-09 2,593 10,651,607
www023: Vector Burn – “Ghost Maps” LP Vol. I .zip 2014-05-09 2,266 150,902,648
www023: Vector Burn – “Ghost Maps” LP Vol. II .zip 2014-05-09 1,794 119,481,135
      GB, MB, KB
Total 2014-11   307,581 887,678,913


“According to Nielsen, from data provided by managers at Nielsen SoundScan, which collects recorded-music sales information, of the eight million unique digital tracks sold in 2011 (the large majority for $0.99 or $1.29 through the iTunes Store), 94 percent – 7.5 million tracks – sold fewer than one hundred units, and an astonishing 32 percent sold only one copy. Yes, that’s right: of all the tracks that sold at least one copy, about a third sold EXACTLY one copy. (One has to wonder how many of those songs were purchased by the artists themselves, just to test the technology, or perhaps by their moms out of a sense of loyalty.) And the trend is the opposite of what Anderson (Chris Anderson, author of ‘The Long Tail’) predicted: the recorded music tail is getting thinner and thinner over time. Two years earlier, in 2009, 6.4 million unique tracks were sold; of those, 93 percent sold fewer than one hundred copies and 27 percent sold only one copy. Two years earlier still, of the 3.9 million tracks that were sold, 91 percent sold fewer than one hundred units and 24 percent sold only one copy. The trend is clear: as the market for digital tracks grow, the share of titles that sell far too few copies to be lucrative investments is growing as well. More and more tracks sell next to nothing.

Equally remarkable is what is happening in the head of industry’s demand curve. In 2011, 102 tracks sold more than a million units each, accounting for 15 percent of total sales. That is not a typo: 0.00001 percent of the eight million tracks sold that year generated almost a sixth of all sales. It is hard to overstate the importance of those few blockbusters in the head of the curve. And the trend suggests that hits are gaining in relevance. In 2007, 36 tracks each sold more than a million copies, together these tracks accounted for 7 percent of total market volume. In 2009, 79 tracks reached that milestone; together they make up 12 percent of the sales volume.

The level of concentration in these markets is so astounding, in fact, that it is nearly impossible to depict the demand curve: it disappears entirely into the axes… It is staggering to see how few titles at the top contribute to a significant portion of sales, and how many titles at the bottom fail to do the same. Those are the realities of digital markets. Assortments may become more and more expansive, but the importance of the few titles at the very top keeps growing, while average sales for the lowest sellers are going down.

The same patterns are visible in album sales. …out of a total of 870,000 albums that sold at least one copy in 2011, 13 album titles sold more than a million copies each, together accounting for 19 million copies sold. That’s 0.001 percent of all titles accounting for 7 percent of sales. The top 1,000 albums generated about half of all the sales, and the top 10,000 albums around 80 percent of sales. Deep in the tail, 513,000 titles or nearly 60 percent of the assortment, sold fewer than 10 copies each, together making up half a percent of total sales.

The numbers certainly do not come close to the trusted ’80/20 rule’ that many managers live by, which supposes that 80 percent of the sales tend to come from 20 percent of the products on offer. For music albums, it is close to an 80/1 rule – if we can speak about a rule at all. Even if we take a conservative estimate of what would be on offer in a bricks-and-mortar store at any given point in time, Anderson’s predictions that long-tail sales will rival those in the head are far off.

Of course the goods in the long tail include not just true niche content but former hits as well. Sales of a blockbuster – even one on the scale of Lady Gaga’s ‘The Fame’ or Maroon 5’s ‘Songs About Jane’ – will eventually dwindle. Such products can now live forever online, even if they have long been cleared from the physical shelves. For old hits, then, digital channels may present a real opportunity. But the large majority of products in the tail were not very successful to begin with. Most of them, in fact, never met the bar for a release through traditional distribution channels. Or, in the case of individual music tracks, they are orphans of unbundling activity: now that online consumers can cherry-pick the most popular tracks on an album, the rest shoot quickly into the long tail.”

Chart 1:

“In the recorded-music industry in 2011, more than 8 million unique digital-track titles together sold 1.271 billion copies… For instance, nearly 6 million titles – 74 percent of all unique titles – each sold fewer than 10 copies, accounting for only 1 percent of sales.

102 titles selling 1,000,000 copies or more/189,758,000 copies sold/15%

1,412 titles selling 100,000-999,999 copies/318,473,000 sold/25%

13,492 titles selling 10,000-99,999 copies/374,827,000 copies sold/29%

74,246 titles selling 1,000-9,999 copies/212,571,000 copies sold/17%

382,720 titles selling 100-999 copies/111,117,000 copies sold/9%

1,620,959 titles selling 10-99 copies/48,687,000 copies sold/4%

5,927,729 titles selling fewer than 10 copies/15,722,000 sold/1%”

Chart 2:

“In the recorded music industry in 2011, more than 800,000 unique album titles together sold more than 330 million copies (including both physical and digital copies)… For instance, 513,000 titles – 58% of all unique titles – each sold fewer than 10 copies, accounting for only 0.5 percent of sales.

13 titles selling 1,000,000 copies or more/23,287,000 copies sold/7%

387 titles selling 100,000-999,999 copies/93,992,000 copies sold/28%

4,229 titles selling 10,000-99,999 copies/114,949,000 copies sold/35%

21,042 titles selling 1,000-9,999 copies/61,493,000 copies sold/19%

87,986 titles selling 100-999 copies/27,032,000 copies sold/8%

251,566 titles selling 10-99 copies/8,261,000 copies sold/2%

513,146 titles selling fewer than 10 copies/1,558,000 copies sold/0.5%”

From Harvard Business School professor Anita Elberse’s book Blockbusters: Hit-Making, Risk-Taking, And The Big Business Of Entertainment”


www023: Vector Burn – “Ghost Maps” LP

Published 2014-05-09 in releases with these tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , .

Vol I:

00. Intro: U Believe In Ghosts (2014)
01. Vector Burn – “Cyan” (1999)
02. Vector Burn – “Graphite” (1999)
03. Vector Burn – “Lens Flare” (2000)
04. Vector Burn – “Lens Flare” Mercury Mix (2000)
05. Vector Burn – “Frostbite” (2000)
06. Vector Burn – “Frozen Light” Techno Mix (2000)
07. Vector Burn – “Hypothermia” (2000)
08. Vector Burn – “Sterile” (2000)
09. Vector Burn – “Blood Pressure” (2001)
10. Vector Burn – “Glaciers” (2001)
11. Vector Burn – “Icebreaker” (2001)
12. Vector Burn + Tempest – “Rift” (2001)
13. Vector Burn – “PNG II” (2001)
14. Vector Burn + Castor – “Patient Zero” (2001)
15. Vector Burn + Castor – “Afterimage” (2001)
16. Vector Burn – “PNG III” (2002)
17. Vector Burn – “Diatribes” (2002)
18. Vector Burn – “Downer” (2002)
19. Vector Burn – “Even Stars Die” Rebuild (2002)
20. Vector Burn + Motion Theory – “The Day The Oceans Boiled” (2002)
21. Vector Burn – “Air Liquide” (2002)
22. Vector Burn – “Force My Hand” (2002)
23. Vector Burn – “JamOnIt” (2002)

Vol II:

24. Vector Burn – “Oxygen Freeze” (2002)
25. Vector Burn – “Silence” (2002)
26. Vector Burn – “Malpractice” (2002)
27. Vector Burn – “Relapse” (2002)
28. Vector Burn – “Weightless” (2002)
29. Vector Burn – “Sickle Cell” (2002)
30. Vector Burn – “Sickle Cell VIP” Vaccine Resistant (2002)
31. Vector Burn – “Despot” (2003)
32. Vector Burn – “Human Element” (2003)
33. Vector Burn – “Evolution Ends” (2003)
34. Vector Burn – “Silkworm” (2003)
35. Vector Burn – “Scorch The Sky III” (2003)
36. Vector Burn – “IFix” (2003)
37. Vector Burn – “Lithium Flower” (2004)
38. Vector Burn – “Warm Heart Turns Cold” (2004)
39. Vector Burn – “Lifeblood” (2004)
40. Vector Burn – “Spider Garden” (2005)
41. Vector Burn – “Apocrypha” (2005)
42. THE RIOT – “Build And Destroy” (2005)
43. Vector Burn – “Witch King” (2005)
44. THE RIOT – “Teargas And Plateglass” (2006)
45. Vector Burn – “Thousand Thrones” (2007)
46. Vector Burn – “VII Eyes VII Thorns” (2007)

.m3u playlist file (for streaming in your music player)

Download 320 kbps mp3 (all-in-two zip files):
www023-1__Vector_Burn_-_Ghost_Maps_LP__Vol_I.zip (mirror)
www023-2__Vector_Burn_-_Ghost_Maps_LP__Vol_II.zip (mirror)

Download wav (all-in-two zip files):
www023-1__Vector_Burn_-_Ghost_Maps_LP__Vol_I__wavs.zip (mirror)
www023-2__Vector_Burn_-_Ghost_Maps_LP__Vol_II__wavs.zip (mirror)

Artwork in higher resolutions:
Square big .jpg, large .jpg
Gatefold big .jpg, large .jpg

(Photography by Scott Kinsey)

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.”

Vector Burn links: Facebook, Myspace, Discogs, Wikipedia
Oliver Scott links: Homepage, Soundcloud, Youtube


…mind the exclusive track and remix samples on the LP sampler [www022]…

www022: Vector Burn – “Ghost Maps” LP Sampler

Published 2014-04-09 in releases with these tags: , , , , , , , , , , , , , , , , , , , , , , , , .

320 kbps mp3, 5:23 min: Vector Burn – “Spider Garden”
320 kbps mp3, 7:46 min: Vector Burn – “JamOnIt”
320 kbps mp3, 7:42 min: Vector Burn – “Seven Thorns” (sampler exclusive; wav included in the zip file)
–> Bonus: remix sample packs (sampler exclusive; wavs included in the zip file)

Download (all-in-one zip file):
www022__Vector_Burn_-_Ghost_Maps_LP_Sampler.zip (mirror)

Artwork in higher resolutions: front .jpg and back .jpg

(Photography by Scott Kinsey)

Vector Burn, once a familiar name to Drum & Bass, had disappeared for years…
Now he says hello to the scene; watch out for his “Ghost Maps” LP to drop soon!

Meanwhile enjoy this sampler with three previously unreleased tunes with assorted remix samples – unconstrained remixing is strongly encouraged!

(The remix samples and the Dubstep tune “Seven Thorns” are exclusive to this sampler; the two Drum & Bass tunes “Spider Garden” and “JamOnIt” will reappear on the LP)

Vector Burn links: Facebook, Myspace, Discogs, Wikipedia


first remix:

www021: johannesvanbebber feat. loom – “subpen & gruenzeug EP”

Published 2014-03-11 in releases with these tags: , , , , , , , , , , , , .

320 kbps mp3, 7:09 min: johannesvanbebber feat. loom – “maulwurfkolonie”
320 kbps mp3, 6:17 min: johannesvanbebber – “das prinzip sirup oder die utopie des sozialistischen staates”
320 kbps mp3, 8:42 min: loom feat. johannesvanbebber – “maulwurfkolonie” (loom Remix)

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.

johannesvanbebber links: Soundcloud, Discogs
loom links: Facebook, Soundcloud, Discogs

www020: Jimix – “Ubiquitous Sun”

Published 2014-01-03 in releases with these tags: , , , , , , , , , , .

320 kbps mp3, 5:24 min: Jimix – “Ubiquitous Sun”

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…

Jimix links: Youtube, Soundcloud, Discogs