Podcasts about Good Looking Records

Swedish producer Seba Ahrenberg has established a reputation as one of the finest purveyors of quality Drum & Bass over a distinguished career that has stretched back over 25 years. With releases on Good Looking Records, Metalheadz, Soul:r, Hospital, Ilian Tape & his own label Secret Operations Seba's music has retained a timeless appeal. Enjoy!

One of Danny Jarvis' all-time favoruite D&B DJ, Artist and producer is LTJ Bukem often accompanied by the legendary lyricist MC Conrad. This is a live set from Cosmic Twilight last year. D&B doesn't ever age and the genre has evolved beautifully over the years incorporating elements of jazz, ambient, and other genres particularly in Bukem's sets and shows.LTJ Bukem, whose real name is Danny Williamson, is a British drum and bass musician, producer, and DJ. He gained prominence in the early 1990s for his contributions to the development of the atmospheric and intelligent drum and bass subgenre. Bukem is also the founder of the influential record label Good Looking Records, which has released many classic and influential drum and bass tracks.Enjoy - Danny Jarvis

Inspired by the Facebook group https://www.facebook.com/groups/atmosphericdrumandbass I've to submit a mix for inclusion on their Soundcloud page https://soundcloud.com/atmosphericdrumandbass and for this show I had something of a preparatory mix through some of the records that I pulled from my shelves. Intense - Natural Progression [Creative Source] Klute - Leo 9 [Cert 18 Records] The Funky Technicians - Airtight [Legend Records] The Funky Technicians - Airtight (Remix) [Legend Records] Spinback & Q. Project - Rikers Island (Dream Mix) [Legend Records] Aquarius & Tayla - Bringing Me Down [Good Looking Records] Big Bud - Source of Inspiration [Paradox Music] Orion - Ol' Janx Spirit [Good Looking Records] ASC - Clear Skies [Auxiliary] St Etienne - The Sea (PFM Remix) [Artcore 3 - React Music] Alaska & Seba - Back from Eternity [Arctic Music] Alaska - Azarca [Arctic Music] Appaloosa & DJ Dream - Chord Data [Good Looking Records] Axis - One In Ten [Good Looking Records] Peshay - The Piano Tune [Points In Time 002 - Good Looking Records] Universal - Live Session [Looking Good Records] Blu Mar Ten - Futureproof [Good Looking Records] LTJ Bukem - Rhodes To Freedom [Good Looking Records] LTJ Bukem - Orchestral Jam (Vocal) [Mystical Realms EP - Good Looking Records] Doc Scott - Tokyo Dawn [Good Looking Records] Source Direct - Secret Liaisons [Points In Time 001 - Good Looking Records]

Just having fun with it.This song was trending on tiktok a little while ago and when I heard it I kept thinking LTJ Bukem or someone on Good Looking Records was trending or something lol

1993's "Atlantis (I Need You)" is a captivating track released under the label Good Looking Records. This song, with its mesmerizing melodies and atmospheric soundscapes, is perhaps one of my most memorable tracks from the emerging D&B scene back in the day. It takes listeners on an immersive musical journey, blending elements of ambient, drum and bass, and electronic music, resulting in a unique and engaging sonic experience.The composition begins with ethereal pads and gentle synth arpeggios, creating a sense of tranquility and anticipation. As the song progresses, a steady drumbeat enters, providing a rhythmic foundation that drives the energy forward. The meticulous production techniques enhance the depth and richness of the track, allowing each layer to shine through.The standout feature of "Atlantis (I Need You)" is its sublime use of melodies and textures. The melodies soar and intertwine, evoking a dream-like quality that transports the listener to another world. The atmospheric textures and intricate sound design add a touch of mystery and intrigue, immersing the listener in a sonic landscape that feels both familiar and otherworldly.The song's title, "Atlantis (I Need You)," hints at a yearning for a lost or mythical place. The music amplifies this sentiment, creating a sense of longing and desire for something beyond the present reality. It captures a feeling of nostalgia or a longing for an idealized utopia.Overall, "Atlantis (I Need You)" is a captivating and evocative piece of music that showcases the talent and creativity of the artist and the vision of Good Looking Records. It takes the listener on an emotional journey through its mesmerizing melodies, intricate textures, and carefully crafted production. This track is a testament to the power of music to transport us to different worlds and evoke deep emotions.I first heard the track on an LTJ Bukem tape in 1993. LTJ Bukem, whose real name is Danny Williamson, is a legendary figure in the realm of drum and bass music. As a producer, DJ, and label owner of Good Looking Records, Bukem has made significant contributions to the genre and has had a profound impact on its development.Bukem's musical journey began in the late 1980s, when he started DJing in his hometown of London, England. Inspired by the emerging sounds of acid house and the burgeoning rave scene, he developed a deep passion for electronic music. However, it was his exploration of the breakbeat-driven rhythms and intricate basslines of jungle and drum and bass that would define his career.In the early 1990s, Bukem established his own record label, Good Looking Records, which became a seminal imprint in the drum and bass scene. The label quickly gained recognition for its distinctive sound characterized by lush atmospheres, intricate melodies, and intricate drum patterns. Bukem's production style, often referred to as "intelligent drum and bass," showcased his ability to blend soulful and jazzy elements with the energetic beats of the genre.As a DJ, LTJ Bukem became renowned for his seamless mixing skills and the ability to craft mesmerizing sets that took listeners on a journey through different moods and emotions. His sets were characterized by a smooth and fluid mixing technique, blending tracks from various subgenres within drum and bass, as well as incorporating elements of jazz, funk, and soul.One of Bukem's most notable contributions to the drum and bass scene is his influential compilation series, "Logical Progression." Released in the mid-1990s, these albums showcased the evolving sound of drum and bass and introduced many talented artists to a wider audience. The "Logical Progression" series became an essential reference point for fans and aspiring producers alike, capturing the essence of Bukem's musical vision. Check out Progression Sessions Vol 1 here with the Legendary MC ConradLTJ Bukem's impact on the drum and bass genre extends far beyond his own productions and performances. His dedication to pushing boundaries and his unwavering commitment to quality music have inspired countless artists and helped shape the evolution of drum and bass into the diverse and vibrant genre it is today.In summary, LTJ Bukem is an iconic figure in the world of drum and bass music. His unique blend of soulful melodies, intricate rhythms, and impeccable mixing skills have made him a highly respected artist and a true pioneer in the genre. His contributions as a producer, DJ, and label owner have left an indelible mark on the drum and bass community, solidifying his status as a legendary figure in electronic music.

This is one of my ALL time favorite mixes by the mighty LTJ Bukem. This CD has a special place in my heart. I followed LTJ from the rave scene and subsequently bought every CD he has ever made. He's a true pioneer of his own sound. Progression Sessions Vol 1 in particular holds the most special place in my heart as it closely resembles a set I heard play live in 1998 in The Courtyard at Cream in Liverpool. To all those that know, enjoy this very special throwback accompanied by none other than MC Conrad.1 | Equinox | 6:192 | Eastern Promise | 6:593 | System | 5:124 | Cosmik | 7:035 | Presence | 6:196 | Emotionography | 7:007 | Planetary Funk Alert | 7:468 | Karizma | 7:039 | Inner Worlds | 6:4110 | Camouflage | 6:0411 | Orchestral Jam | 6:38

Live radio show presented by Mark Biggus

01. All Trades - Digital Fluid (Warehouse Rave) 02. Grooverider - Sinister (The Influence Remix)[Reinforced Records] 03. E Hill & Mathieson - I Feel It (Devon's Road Recordings) 04. Tim Reaper - Red Shells (Sticky Tapes) 05. Sonz Of A Loop Da Loop Era & The Scratchadelic Experience - Peace & Loveism (Weird Breakism Mix) [Pyrotech Records] 06. Prozak - Leave You (Time Is Now Records) 07. Inkipak - Green (Glawiio Music) 08. Kreggo & Textasy - The Definitive Hardcore Anthem (Art-Aud) 09. Denham Audio - Who Started Jungle (Coco Bryce Remix)[Beat Machine Records] 10. Logic - Blues For You (Chimpo Relick) [Box N Lock] 11. Angel D'lite - R U Ready (Ritual Poison) 12. Thugwidow - The Faint Whimper Of A Desperate Man (Tim Reaper Remix) [Forthcoming on Bukva Sound] 13. Daffy - Rave Tool (Vivid) 14. Coral - Fire Trail (Unreleased) 15. West Norwood Cassette Library - (Everytime You Touch Me) I Get Hype (Sneaker Social Club) 16. Nookie - Give A Little Love ('94 Lick)[Reinforced Records] 17. All Trades - In Ether (Warehouse Rave) 18. Full Quantic Pass - DJC (Brothers From Different Mothers) 19. LTJ Bukem & Peshay - 19.5(Good Looking Records) 20. Dead Man's Chest - Fuk Ya Head (Dr.Banana) 21. Law - 1 4 Me (Repertoire) 22. FFF - One Tribe (Lobster Theremin) 23. Placid Angles - First Blue Sky(Magicwire) 24. Coral - Broken (Forthcoming on Bukva Sound) 25. Thugwidow - Stabz Of Life (Unreleased)

Not many producers can create new aliases after 10+ years and still manage to drop something completely unexpected and refreshing. Peter Rogers' Wardown project did just that in 2020, debuted on the respected Blu Mar Ten label, the self-titled album found admirers from a cross-section of music styles; spanning Jungle, Drum'n Bass and a strong atmospheric element. Wardown / Wardown was consequently one of my most played and admired albums of the year (finding a sweet spot in the Reflection on 2020 and Atmoteka mixes). I found it near impossible to stop the album once it started, as it flowed easily between stories, styles, and sentimental reflection. Peter is now set to drop his second album under the Wardown alias, simply titled Wardown II, but those who absorbed the nostalgia from his first, will undoubtedly be confident that despite its modest title, the conceptual approach is as strong as ever, and the music will once again be left to do the storytelling. Continuing with this brilliant reflective approach from the first album, Wardown II can be considered another vivid capture of one of Peter's undoubtedly many memories he has begun to create with this alias. And just like his productions, his isolatedmix is a natural extension of this approach. As is the case with many producers in this genre, DJ'ing is integral to the culture, so it's of no surprise for us to be treated to a little bit of a masterclass with this latest installment…~ASIP: Many people may know you as one half of the d&b duo Technimatic (and even making an appearance as Technicolour on our Energostatic comp which we were proud to host a few months back). Can you tell us a bit about how you got into producing music and your background?Pete: I started making electronic music in about 2002. I'd been into jungle and drum & bass as a teenager growing up in Luton, and played in a jazz funk band for many years too. But 2002 - after I'd finished studying graphic design at university and moved to London - was the first time I had the opportunity to buy a computer of my own and actually start trying to create stuff with it.You debuted the Wardown project on the Blu Mar Ten label in 2020. What inspired this new alias after years under others?I started Wardown because I had quite specific things I really needed to express and put into music that I didn't have to the opportunity to elsewhere. Technimatic is my main musical focus of attention and I love it, but sometimes there are things unique to you that you need to be able to say, that might not fit within the canon of music you're making as a duo. Things much more personal. I've known Chris Blu Mar Ten for many years and have huge respect for the vision and A&R of his label, so it felt like the perfect fit. Thankfully he was really enthusiastic about putting it out. Wardown by WardownVignettes of people talking about your hometown of Luton open your first Wardown album, (which was a surprise for me to hear, as I grew up in a nearby town). How would you describe your formative years there? How did it impact your music?Luton has a very chequered past. It's regularly featured in the kinds of ‘shittest towns in the UK' lists that appear online. It's been home to the English Defence League, Islamic terror cells, and is generally thought of as a fairly ugly, non-descript town on the outskirts of London that has an awful airport. But as a kid, I had a really good upbringing there. And crucially, being near London and the M25 motorway, back in the 90s it had a very strong connection with rave, hardcore, and jungle music. Legendary hardcore DJ Swan-E was from Luton, Blame was from just down the road in Dunstable, there were pirate radio stations broadcasting the music 24/7 in the area, and most importantly for me, there was an amazing record shop called Soul Sense where as a teenager I spent a lot of my time, learning and being inspired by 90s underground music.I assume you made several trips to London back in the day like most music lovers living in the Shires, for the big nights and DJs in the capital. Who, or what was your mecca back in the day? And which record stores were you gracing?Absolutely. Once I was allowed to go into Luton town centre on my own without my parents, it wasn't long before me and my friends were getting on the train and heading into London to buy records. This was the mid-90s and obviously long before smartphones and the internet, so on several occasions we went with the intention of going to Blackmarket Records in Soho, but ended up coming back empty-handed as we simply couldn't find it! But eventually, we worked it out and it was always a huge buzz. Section 5 on Kings Road in Chelsea was another favourite.In 2000 I moved to London and that's when my real clubbing experiences began. Swerve at The Velvet Rooms on a Wednesday, Movement at Bar Rumba on a Thursday, but the real Mecca for me and my friends was The End. It's still my favourite club that's existed and so much of my dance music education happened there. We went to most d&b nights but the key event for us was LTJ Bukem's Progression Sessions, which ran monthly there throughout most of the noughties. I think I went to every single event from about 2002 - 2007.The Wardown debut was one of my favorites from 2020. A wide spectrum of sounds, running from lush ambient pieces to extremely energetic tracks. The narrative aspect pulled me in, giving off a nostalgic mixtape type of vibe. It felt like it was a pivotal album for you to get out into the world given how personal the elements contained within were - almost a ‘letting go' kind of feel?Absolutely. During the start of 2019 I returned to Luton quite a bit. My granddad, who was the last remaining family member living there, was ill. So I went to visit him at his home, and then the hospital until he eventually died. He was 98 so it was no huge shock, but when I was back there, these ideas started forming in my mind. Luton was my home town but the last remaining Rogers had now left and there was nothing left linking me to it. But despite losing those roots and living away from the town for over 20 years, it still had this strange power over me and I felt a really deep connection. Obviously, some of that was down to simple nostalgia for my childhood. But there was something else tied up in it. Something a bit more complex. And making that first album was an attempt to try and express those feelings. That first track on that album (Culverhouse) has to be one of the most euphoric moments to kick off an album in recent memory of mine. I was definitely keeping it locked for the remainder after that beginning! What was the intention with the sequencing of the album?I honestly can't remember much about the sequencing of the first album. It wasn't like I made 30 or 40 tracks and then whittled them down and picked my favourites. It's a 10 track album and I think I made 11 tracks, and decided to ditch one of them. I wanted it to be a mix of jungle and ambient soundscapes as I think despite the two genres being in some ways at the opposite ends of the spectrum, they also work beautifully together. When I was initially buying records in the 90s, I used to be obsessed with the intros and breakdowns of certain jungle records. There was a run of releases on DeeJay Recordings from DJ Crystl and Future Sound Of Hardcore that had these sprawling instrumental openings that I used to play over and over again. And obviously LTJ Bukem and a lot of those early releases on Good Looking Records are on the same page. That aesthetic felt like a really good way to try and manifest the ideas I was having.According to your first album notes, Wardown is an attempt to capture what the Germans call 'sehnsucht', an "inconsolable longing in the heart for we know not what". Where did this attachment come from?That quote is from the author CS Lewis, attempting to describe the sense of longing he felt for much of his life. And I've been kind of obsessed with that feeling for quite a long time too. ‘Sehnsucht' is a German term that gets somewhere close and there are others in various languages. But it's a very hard thing to accurately pin down and describe. I sometimes feel as though to get a sense of it I have to look out of the corner of my eye, as when I try and focus directly on it, it disappears. It's often a very fleeting feeling brought on by certain scenes in the world, weather, photographs, old films. A kind of bittersweet, melancholy feeling about the past and things that have been lost. But quite often it's a longing for things I've never personally experienced or may never have even happened. “at its simplest, Wardown II is a vision of the future from the past.” Wardown II by WardownThe new album is a subtle shift in concept from the original and perhaps a continuation chronologically. The nostalgia is still there, but I'm getting a look at the future instead of back like the first album. Maybe the artwork is subliminally pointing me in that direction too. Is this Luton today or in the near future?!With the first Wardown album I was trying to evoke those feelings of loss and yearning I felt for my home town and earlier life. And that got me thinking about nostalgia in a wider sense and why it's so alluring, particularly as you get a bit older – but also why it's so pervasive everywhere you look these days. TV, film, music, advertising, even politics draws on the past, utilises it, and sometimes even weaponises it. It's an incredibly powerful thing, and for me it can create a strange kind of ‘uncanny valley' feeling, as though today's popular culture has become unmoored from history and its once-definitive eras and epochs. So much of what we consume today is full of anachronism, a kind of rehash of what's come before. I found myself wondering: what happened to the future I imagined when I was a kid?I think nostalgia is incredibly alluring right now because the future no longer looks bright. We live now with the looming threat of climate change and a catastrophic loss of biodiversity across the world, not to mention war, economic instability and the rise of populism and nationalism. It all feels just too much sometimes, and nostalgia is always there, showing us how better things were in the past – even if the safe, optimistic world it portrays didn't actually exist in the first place. In that way, nostalgia is dangerous because it stops us looking forward and taking responsibility for the future, with all its challenges – something we all need to do.Of course, all this is strongly culturally inflected, and when I say ‘we', I'm coming from a white, Western and affluent perspective; the relationship between nostalgia and progress is likely to be very different for someone born in the global south. But as someone who came of age in Britain in the 90s, the future means a different thing today than it did when I was a child. Back then it felt like there was still a kind of general, unwavering optimism about the coming years, a faith in progress and a belief that society was on the path to an increasingly better place. The fall of the Berlin Wall, the end of communism in the USSR and other Eastern European countries, New Labour, the impending Millennium, which felt like the epitome of all things futuristic – all these things pointed to the fact the future was something to look forward to.So at its simplest, Wardown II is a vision of the future from the past. I decided to give it quite a strong 1950s / 60s flavour, as to me it seems like that is when the idea of ‘the future' was at it's most potent. After the devastation of two world wars came the rise of modernism and its belief that, rather than just being an aesthetic, it could literally improve people's lives through the creation of a new kind of architecture and design. There were the American and Russian plans to send people into space. Film and TV that painted the future as a shiny kind of utopia, with flying cars, and machines that allowed humans to forget the horrific memories of war and enjoy a life of comfort and leisure.Samples are obviously a big part of your work (and your isolatedmix). It sounds like your first album was more personal, collected soundbites and samples. And this new album seems a little more abstract in its samples and direction. Can you describe your process for the sample-heavy tracks such as Instant Money? Do you build a track around a sample, go looking for something specific, or have a bank of samples ready to go?I've always been a fan of collage. Art that brings lots of different, often disparate sources together to create something fresh. As a kid I used to cut up catalogues and booklets that came through the front door and make these mad, stuck together images with them. And at university, I was fascinated by the work of artists like Robert Rauschenberg. So when it came to making music, growing up through an era of sample-heavy jungle and hip-hop (‘Entroducing' by DJ Shadow is one of the most important albums in my life), I adopted a similar technique.However, with Wardown the approach is slightly different to when I'm working on other things. I initially try and establish quite a strong conceptual starting point before I've made any music. I do lots of reading, watch things, and generally think about the world I'm trying to create before anything is made. Obviously things change and develop through the process of actually creating the music, but by starting out like that, I try and attune myself to what I'm looking for, samples wise. It's like I put little antennas up and then go about my usual life of reading, watching films and documentaries, and listening to music. But because my antennas are up and scanning for quite specific things I'm able to isolate sounds that can potentially work a lot better; sounds that would probably pass me by if I had just been taking it all in in a more general sense. And once I've had a strong idea for something I'll then dive a little deeper, in terms of second-hand records, tapes, online archives and the like. Wardown II by WardownI'm also a little gutted that Instant Money didn't make it onto the mix in full here (i hear a quick sample only!) It's one of my faves and extremely addictive (reminds me a bit of Roni Size's Dirty Beats in how the vocal burrows deep inside your brain for hours after listening if I dare compare). What was your intention/concept for the mix overall?The idea for the mix was essentially an extension of what I've done with the two albums. A collection of jungle and electronic music combined with longer ambient passages. There are a few personal favourites in there, as well as some lesser-known stuff I thought worked well. I've also taken apart elements of some of the music from Wardown II and used that throughout. More collage!The drum'n bass / jungle mixtape is of course an iconic piece of music culture and by the sounds of it, you've perfected your skills at putting one together. Do you consider yourself a DJ? Do you enjoy this aspect of your music?Well I've just come off the back of playing a summer of festival shows as Technimatic, so in that regard, definitely. I do think these days however, there is quite a big difference between being a DJ who plays live shows, and someone who puts mixes together online. Years ago you would just press record and essentially recreate what you do in a live setting. But because of the changes in technology and what you're now able to do with sequencers, recorded mixes feel like they've become a separate thing in their own regard. They definitely are to me, anyway. I love putting together online mixes that pull apart tracks, alter tempos, have multiple elements working at the same time to create something really unique. Maybe a really talented DJ could do it live, but I definitely can't!What have been some of your fave mixes over the years that we could go check out? A favorite of all time?I can't really discuss jungle and Wardown without mentioning LTJ Bukem's ‘Essential Mix' for Radio 1 in 1995. It really was such a defining mix, one that created a kind of blueprint for a whole new musical sub-genre. All the classics are there, and it still sounds fresh and exciting to me. In terms of more recent times, Visible Cloaks' ‘Music Interiors' from 2013 is another really important mix for me. It's a collection of 80s ambient and experimental music from Japan, and it totally blew my mind when I first heard it. The fact there was this huge, rich, inspiring area of music I had no idea existed before listening was really extraordinary. And it just flows so well. I'm eternally thankful for VC for creating it; I've played it more times than I can remember.~ astrangelyisolatedplace · isolatedmix 119 - WardownListen on Soundcloud, Mixcloud, or the ASIP Podcast.DownloadTracklist:01. Soft Robot - ‘Point Nemo'02. Kerguelen - ‘Proxemics'03. Sycamore Investments - ‘Cherry Bomb'04. Wardown - ‘Stimulus Progression Pattern'05. LTJ Bukem - ‘Rainfall'06. Offthesky -‘Insofar, In So Far'07. Freedive - ‘Watering A Flower On The Moon'08. Photek - ‘Complex'09. Ki One - ‘Life At The End Of The World'10. Micronation - 'Photographs of Clouds'11. Wardown - ‘The Ideal City'12. Advanced Sound & Vision - ‘The Engineered Yes'13. Wardown - ‘Lifespan'14. Fisher Associates - ‘Scorched Earth'15. Wardown - ‘Graphite and Glitter'16. The Architex - ‘Altitude'17. Creative Innovations Inc. - ‘Stone Tape Theory'18. r beny - ‘Eistla'19. Jefre Cantu-Ledesma - ‘Song Of Forgiveness Pt. 1'~Wardown | Bandcamp | Discogs | Twitter | Instagram

Welcome to the Warm Ears Podcast! This month Elementrix hosts Smote. Hailing from Slovakia, Smote has been making music for over 20 years. His initial creations were supported by the likes of LTJ Bukem through Good Looking Records. A busy producer to this day, you can find his recent tunes on labels such as Liquicity, Celsius & Galacy. Full tracklist in the description below: Stream → hyperurl.co/hybl9k Follow Elementrix: Facebook → www.facebook.com/elementrixsound/ Mixcloud → www.mixcloud.com/elementrix/ Follow Smote: Soundcloud → @smote Facebook → www.facebook.com/smotesk Follow Warm Ears Music: Facebook → www.facebook.com/warmearsmusic Instagram → www.instagram.com/warmearsmusic Twitter → twitter.com/warmearsmusic Bandcamp → www.warmearsmusic.bandcamp.com/ Spotify → spoti.fi/3fwguLL ELEMENTRIX: Parhelia - Messages From Pluto [???] Parhelia - Wisdomfree [Offworld Recordings] Peron - Planet Jazz I Was With You [Kos.Mos.Music] Neo-Geo - The Retired Colonel [Kos.Mos.Music] Paladion - Ive [Kos.Mos.Music] Abstract Drumz & Peeb - Dancing Aurora [Omni Music] K3Bee - Glad [Omni Music] Peron - 11th Space [Omni Music] Bungle - Aura [Soul:R] Peron - Don Peron Shows The Truth (Dub) --- SMOTE: Smote - I Can Show You (ft. Bazil)[???] Smote - Mascot [Soul Deep] Silence Groove - Patterns [Scientific Records] Ishome - Earth [Fuselab] Molecular - Deep Breath [Fokuz Recordings] Mystical Sound - Hell Bells [Kos.Mos.Music] K2T - Elder Spirit (Echo Motion Remix) [Detached Audio] Leniz - Love In Excess [Galacy] Telomic - Rewired [Galacy] ID Edlan - Painted Smiles [Liquicity] ID Edlan & Nymfo - Warehouse Tune [Liquicity] ID

Dos75 & Jrumhand both met whilst studying at college in Northampton in the mid-nineties. We both loved jungle and drum and bass music and it seemed only natural to set up our own weekly drum and bass night called 'Deep' in the town spinning our favourite tracks that we were hearing out at places such as Speed and Metalheadz. We also dabbled in music production on the Amiga. It was a great time for the music and we absolutely loved it! Fast forward twenty five years and I'm still very much enjoying composing music (https://soundcloud.com/jrumhand) and contributing positively to the drum and bass scene from the peaceful and rural surroundings of North Devon. Looking back over the last 15 years, I am most proud of having my first vinyl release with Blade on the 'Jazzn' LP on Good Looking Records (https://soundcloud.com/jrumhand/cascade) and being invited to play at Fabric by the mighty LTJ Bukem back in 2014, who has continued to support my music.(https://www.fabriclondon.com/.../audio-jrumhand...). I was also asked by Phil Basement to contribute a piece called ‘Wonsaponatime' on the Precious Material – The Beginning album (https://jrumhand.com/.../wonsaponatime-features-on-new.../) and have another two tracks with the talented German producer Poschek (https://soundcloud.com/poschek) scheduled for the label's next vinyl album project (https://soundcloud.com/.../jrumhand-poschek-tropical...) (https://soundcloud.com/.../jrumhand-poschek-my-town...). Again, another legendary label I have a huge amount of respect for. I have been remixed by legends such as PFM (https://soundcloud.com/jrumhand/jrumhand-johnny-promise-pfm) and was honoured to remix Nookie's ‘Rebounded', which was hammered around the world. (https://soundcloud.com/jrumhand/nookie-rebounded-jrumhands) I continue to love the immersion of the music making process and have built up an extensive back catalogue of releases on many labels from across the scene, including more recently Soul Deep Exclusives and Smooth n Groove Records, who have been great supporters of my music. I also have a lot of my back catalogue and some brand new piece of music available only from my Bandcamp site (https://jrumhand.bandcamp.com/) which I am adding to all the time. It's an honour to record a special mix for my good friend Dos75's show and I'm really pleased to feature on Unknown FM, which I've heard is making great strides recently and building up an ever growing and loyal following. Look out for lots of new music over the next few months including a special vinyl release on the 10 years of Soul Deep album out this Summer as well as more collaborations with Posheck and lots of additional solo work. Information is always available from my website. (https://jrumhand.com/)

On this weeks MBoR, it went along the lines of some Liquid, Deep Techy Atmospheric Drums'n'Bass. Random selection so didn't expect the mix to go the way it did and finished. Hadn't played most of the records in such a long time as well. Records selected from producers such as Tronic100, John B, Deep Inc, CAM, Junior Cartel, Furney, Makoto, Nookie, LTJ Bukem, Blame, Intersperse, Lacarno, Artemis, From labels such as Renengade, Good Looking Records, Earth Records www.unknown.fm Thanks again for listening ;)

A 2 PART AMBITRONICA SPECIAL: DRUM 'N' BASS 'N' DREAMY BREAKS 1994-2017. Compiled & mixed by Mike G at Rubycon Sound, May-June 2020. Tracklist at ambientmusicguide.com. Around 1994 I remember hearing the track ‘Mutant Jazz’ by the mysterious T Power vs MK Ultra. It was getting airplay on Oz public radio station Triple J, which broke a fair bit of new indie and electronic music from the UK back then. It started as a slow, funky trumpet-led lounge break that – completely unexpectedly – segued into the fast, stuttering, skittering beats of what I soon learned was called jungle. Then, following this initial segue, ‘Mutant Jazz’ improbably and brilliantly married both: slow and fast, dreamy and kinetic. As jungle quickly morphed beyond the underground and spread around and outside the UK it became known as drum ‘n’ bass. The more ambient, atmospheric tip championed by the likes of LTJ Bukem and his label Good Looking Records became yet another iteration of ambient dance music alongside ambient techno, IDM, ambient dub, lounge, ambient breaks and a slew of other subgenres. Two or more of these styles were frequently fused together, and “intelligent” drum ‘n’ bass was one of the most eclectic and inventive styles of them all. These two mixes capture rich, atmospheric drum ‘n’ bass and breakbeat tunes that are personal faves, mostly dating from back in the day but also a few recent ones including cuts from genre giants Blu Mar Ten. Pioneers like Bukem and A Guy Called Gerald are here, but so too are some stonking cosmic tracks from Australian and New Zealand artists which you have probably never heard and I think you’ll like. A lot.

A 2 PART AMBITRONICA SPECIAL: DRUM 'N' BASS 'N' DREAMY BREAKS 1994-2017. Compiled & mixed by Mike G at Rubycon Sound, May-June 2020. Tracklist at ambientmusicguide.com. Around 1994 I remember hearing the track ‘Mutant Jazz’ by the mysterious T Power vs MK Ultra. It was getting airplay on Oz public radio station Triple J, which broke a fair bit of new indie and electronic music from the UK back then. It started as a slow, funky trumpet-led lounge break that – completely unexpectedly – segued into the fast, stuttering, skittering beats of what I soon learned was called jungle. Then, following this initial segue, ‘Mutant Jazz’ improbably and brilliantly married both: slow and fast, dreamy and kinetic. As jungle quickly morphed beyond the underground and spread around and outside the UK it became known as drum ‘n’ bass. The more ambient, atmospheric tip championed by the likes of LTJ Bukem and his label Good Looking Records became yet another iteration of ambient dance music alongside ambient techno, IDM, ambient dub, lounge, ambient breaks and a slew of other subgenres. Two or more of these styles were frequently fused together, and “intelligent” drum ‘n’ bass was one of the most eclectic and inventive styles of them all. These two mixes capture rich, atmospheric drum ‘n’ bass and breakbeat tunes that are personal faves, mostly dating from back in the day but also a few recent ones including cuts from genre giants Blu Mar Ten. Pioneers like Bukem and A Guy Called Gerald are here, but so too are some stonking cosmic tracks from Australian and New Zealand artists which you have probably never heard and I think you’ll like. A lot.

We're back with another lockdown special! This one coming all the way from Italy - ENJOY. Alessandro has had a passion for electronic music since way back in 89, when he first discovered acid house. Since then his continuous thirst for musical knowledge has brought him into contact infinite number of styles and genres, which all shine through in his musical outputs. Over the years ENJOY has played at numerous events and club nights, as well as co-running his own night in 2007 called Bleep. The only night in Italy offering Jungle! Enjoy also has multiple releases on labels including Good Looking Records, AKO BEATZ, Omni Music, Subtle Audio Recordings and Criterion Records. Catch this mix full of amazing tracks and unreleased dubs! Tune in at the usual time tonight, 8-10PM GMT on Dejavu & via facebook.com/thehistoryofjungleshow

Переменная облачность - моя любимая погода. Пейзаж круто смотрится с высоты - по полям скользят причудливые тени и особенно остро ощущаешь переменчивость жизни. Природа вдохновляет меня на творчество (не только музыкальное) и заряжает энергией. Поэтому такое название у микса. LK от солнечных бразильцев DJ Marky & XRS - один из моих любимых треков, особенно инструментальный вариант. Кто не знает, именно с этого трека зародилось liquid funk звучание, и приложил к этому делу руку помимо бразильцев еще и безусловно талантливый Stamina MC. Еще из олдни - Dawe Owen с прекрасным и мелодичным треком Deep Breathing. Вышел в 2013 году на Good Looking Records. На пластинке, кстати. Мой личный фаворит в этом миксе - десятый трек от мистера Джозефа и бесподобной Коллет Уаррен про розы, торчащие с задней двери. Под него особенно збс валить 120 километров в час с открытыми окнами. А на кабриолете наверное вообще бомбически будет. Больше всего в этом треке мне нравится басслайн - необычный, с привкусом neuro, мурахи короче вдоль спины скачут :) Приятного прослушивания и вообще, делитесь эмоциями в комментариях!

Переменная облачность - моя любимая погода. Пейзаж круто смотрится с высоты - по полям скользят причудливые тени и особенно остро ощущаешь переменчивость жизни. Природа вдохновляет меня на творчество (не только музыкальное) и заряжает энергией. Поэтому такое название у микса. LK от солнечных бразильцев DJ Marky & XRS - один из моих любимых треков, особенно инструментальный вариант. Кто не знает, именно с этого трека зародилось liquid funk звучание, и приложил к этому делу руку помимо бразильцев еще и безусловно талантливый Stamina MC. Еще из олдни - Dawe Owen с прекрасным и мелодичным треком Deep Breathing. Вышел в 2013 году на Good Looking Records. На пластинке, кстати. Мой личный фаворит в этом миксе - десятый трек от мистера Джозефа и бесподобной Коллет Уаррен про розы, торчащие с задней двери. Под него особенно збс валить 120 километров в час с открытыми окнами. А на кабриолете наверное вообще бомбически будет. Больше всего в этом треке мне нравится басслайн - необычный, с привкусом neuro, мурахи короче вдоль спины скачут :) Приятного прослушивания и вообще, делитесь эмоциями в комментариях!

Hailing from Bolton (UK), brothers John & Dominic Crossland formed SoulStructure in late 2012 and have quickly become synonymous with ambient, jazz and old skool infused drum & bass. With a ten year age gap the brothers have had different journeys to get to this point…. At the age of 11, under the guidance of the duo’s older brother Iain and friend JB, John started to build his record and mixtape collection; developing an early passion for breakbeat and jungle techno. Influenced by the sounds of Omni Trio, Nookie & Peshay, this led to the logical progression of learning to DJ a couple of years later. As time went on and the music developed, John became more enraptured by the prospect of music production and emulating his idols…. PFM, DJ Pulse, Intense, Artemis et al. He saved up what money he could to buy an Akai sampler, Roland synthesizer and computer sequencer. John started to experiment with sounds and established a large sample library which would serve him well in later years. As time went on he maintained his burning passion for the music but became preoccupied with playing football and progressing his professional career as a recruitment manager. The dreams of calving his own identity in the music production world went on hold. However, John remained influenced by jazz, hip hop & soul and continued to build a substantial vinyl collection and quietly hone his song writing skills. Dom developed an eclectic taste in music from a young age. From indie rock to techno, he soaked up different influences; always keeping an open mind. Coupled with a passion for avant-garde and world cinema, Dom became a vessel for all things abstract and cult. He invested in a pair of Technics 1200s and, alongside close friend Will, began mixing hip hop and drum & bass for hours on end; back-to-back sessions that would go on to the early hours of the morning. After enrolling on a music technology degree, Dom's production skills developed very quickly. Under the name Release, he soon had music signed by a variety of labels. His solo project has become known for razor sharp drums, grinding bass lines and sic-fi samples. He continues to release music under this moniker and has established a reputation for his technical ability and engineering skills having released music through Horizons & DJ Trace’s DCI4 imprint. n the midst of establishing his solo project, Dom sent a track to LTJ Bukem that received heavy support. Due to sample clearance issues it was not possible to release, so Danny asked what other music he had available. At this point the brothers decided to work together and revisit some of the projects John started over a decade earlier. The boys went on to sign a handful of tracks to Bukem’s Good Looking Records imprint and SoulStructure was born. Unfortunately the label folded before the tracks could be unleashed to the world. However, Paul SG was quick to swoop and sign the duo to his growing Jazzsticks Recordings label in 2014. John & Dom’s first release was a remix of Paul’s underground classic ‘Rhodesomes’ followed by the critically acclaimed Origin EP featuring collaborations with Pulsaar, Jrumhand and the legendary saxophonist Molly Duncan in early 2015. The boys have since released the single ‘Brooklyn Belles’ and the PFM inspired tribute ‘Progressive Future Music’ on Repertoire’s Full Repertoire Vol.1 compilation. Over the last year the duo have been collaborating with a variety of artists and working on the SoulStructure debut LP ‘Time & The Truth’, which should see a release in March/April 2018. The SoulStucture sound will guide you through ambient soundscapes scattered with jazz samples and underpinned by solid steel classic drum breaks. Unashamedly influenced by mid-90s drum & bass, John & Dom’s DJ sets are no different. Let your mind drift and your body sway. Tracklist Universal Traveller - Midnite (Voyager Remix) DJ Shadow - What Does Your Soul Look Like Pt.1 Intense - Only You Dub Two - Bad Man (Tuffness Mix) DJ Pulse & The Jazz Cartel - Street Player Jaheim - Put That Woman First (Calibre Remix) Keni Burke - Risin' To The Top DJ Crystl - Meditation Architex - Altitude Warp 69 - Natural High Common & Hi-Tek - 1-9-9-9 Shogun - Nautilus 808 State - Pacific State Origin UFO - Loud Minority (Alex Reece Remix) DJ Distroi & Boykz - Come With It Bad Boy Furney - It Is Real

Продолжаем знакомство с миром drum and bass музыки! В прошлом выпуске я рассказывал про Марки из Бразилии, а сегодня расскажу про японца Макото. Слушая подкасты этого скромного парня, я пристрастился к длинному сведению - это когда треки настолько гармонично дополняют друг друга, что могут играть вместе 5-7 и больше квадратов. Кстати, в этом и заключается творчество и искусство диджея. Там много всего, на самом деле - и эффекты, и скретч, и игра с трех проигрывателей, но гармоничное сведение - основа мастерства. Первый раз я услышал Макото в 2003 году, когда вышел релиз Human Elements, причем, что интересно - на этой пластинке не только бэйс-музыка, но и треки в стиле даунтемпо, это тогда так модно было. Все вместе звучит просто восхитительно! Да, вышел он на Good Looking Records - это такая звукозаписывающая компания, расскажу тоже про нее маленько. Связь тут простая - именно LTJ Bukem, он же Дэниел Уилльямсон - основатель GLR, разглядел талант Макото и вывел его в свет. Помимо японца на лейбле записывалась еще куча разных талантливых ребят - Blu Mar Ten, Seba, Paradox, Tayla - да всех и не упомнишь. Смысл в том, что Букем вместе с корешком Конрадом Томпсоном (MC Conrad, да-да) смогли объединить под одной крышей кучу прогрессивной молодежи. Дело в том, что в те годы (начало 2000-х) dnb-музыка стала сильно крениться в сторону "темного звучания", поэтому свежие нотки интеллиджента стали своего рода спасением и новой кровью. GLR были первыми, кто обратил свой взор в «мягкий» космос и научную фантастику в рамках джангла. Интеллиджент потом развился в ликвид-фанк, и помимо дИджей Марки фром Бразил к этому делу приложили руку два талантливых нигера - Фабио и Груврайдер, ну о них в другой раз расскажу. Теперь про сам микс. Первые три трека не от Макото, это так спонтанно получилось. Отмечу тут Хаотично Движущегося - обожаю такие треки, когда пятка так и норовит пробить пол. Третий трек от кАлибр - тоже культовый чувак с оригинальным и узнаваемым звучанием - всяк герой следующих выпусков. Makoto - Music Has Never Let Me Down - в свое время я засыпал и просыпался под него. В 2011 году на Фукусиме случилась авария. Макото кинул клич коллегам по цеху и парни поддержали друга, всем миром собрав релиз Something We Can Do. Он вышел на лейбле Макото HE:Digital и все средства пошли на благотворительность. Почему так? Потому, что это хип-хоп: Мир, Любовь, Единство и Having Fun. DJ Marky, Makoto - Without You - трек как раз оттуда.

Продолжаем знакомство с миром drum and bass музыки! В прошлом выпуске я рассказывал про Марки из Бразилии, а сегодня расскажу про японца Макото. Слушая подкасты этого скромного парня, я пристрастился к длинному сведению - это когда треки настолько гармонично дополняют друг друга, что могут играть вместе 5-7 и больше квадратов. Кстати, в этом и заключается творчество и искусство диджея. Там много всего, на самом деле - и эффекты, и скретч, и игра с трех проигрывателей, но гармоничное сведение - основа мастерства. Первый раз я услышал Макото в 2003 году, когда вышел релиз Human Elements, причем, что интересно - на этой пластинке не только бэйс-музыка, но и треки в стиле даунтемпо, это тогда так модно было. Все вместе звучит просто восхитительно! Да, вышел он на Good Looking Records - это такая звукозаписывающая компания, расскажу тоже про нее маленько. Связь тут простая - именно LTJ Bukem, он же Дэниел Уилльямсон - основатель GLR, разглядел талант Макото и вывел его в свет. Помимо японца на лейбле записывалась еще куча разных талантливых ребят - Blu Mar Ten, Seba, Paradox, Tayla - да всех и не упомнишь. Смысл в том, что Букем вместе с корешком Конрадом Томпсоном (MC Conrad, да-да) смогли объединить под одной крышей кучу прогрессивной молодежи. Дело в том, что в те годы (начало 2000-х) dnb-музыка стала сильно крениться в сторону "темного звучания", поэтому свежие нотки интеллиджента стали своего рода спасением и новой кровью. GLR были первыми, кто обратил свой взор в «мягкий» космос и научную фантастику в рамках джангла. Интеллиджент потом развился в ликвид-фанк, и помимо дИджей Марки фром Бразил к этому делу приложили руку два талантливых нигера - Фабио и Груврайдер, ну о них в другой раз расскажу. Теперь про сам микс. Первые три трека не от Макото, это так спонтанно получилось. Отмечу тут Хаотично Движущегося - обожаю такие треки, когда пятка так и норовит пробить пол. Третий трек от кАлибр - тоже культовый чувак с оригинальным и узнаваемым звучанием - всяк герой следующих выпусков. Makoto - Music Has Never Let Me Down - в свое время я засыпал и просыпался под него. В 2011 году на Фукусиме случилась авария. Макото кинул клич коллегам по цеху и парни поддержали друга, всем миром собрав релиз Something We Can Do. Он вышел на лейбле Макото HE:Digital и все средства пошли на благотворительность. Почему так? Потому, что это хип-хоп: Мир, Любовь, Единство и Having Fun. DJ Marky, Makoto - Without You - трек как раз оттуда.

The Pariah studio had been assembled and music was being crafted in their individual, futuristic style which first caught the ears of Doc Scott and Blame. The first release came through Wolverhampton’s Urban Flavour Records and received heavy support from Fabio, Doc Scott and Dr S Gachet. In the few years that followed music was released on labels such as; Funk 21, Nu Directions, Inperspective Records and Covert Operations. During this time Blame had been guiding and mentoring Pariah to the point of releasing tracks with his 720 Degrees imprint which hadn’t gone unnoticed by LTJ Bukem a firm relationship with Good Looking Records followed up until 2004. In 2010, work meant a short break was needed. Now, in 2013 Pariah returns with new compositions that have that futuristic edge and a drive to push the boundaries of the Drum and Bass sound with Odyssey Recordings. Tracklist EZ Rollers - Synesthesia Pariah - Catalyst (720 re edit) Deep Blue - Thursday Pariah - Trancer EZ Rollers - Quantum State Pariah - Re-Program Future Engineers - Shattered Odyssey - Ritual Solution To Sound - Essence DJ Solo - Pressure Photek - One Nation Digital - Spacefunk 2 The Funky Technicians - Sound Trak Pariah - Aqueous Codename John - Warned Matrix Vs Dilemma - Dub Mix Lemon D - Break It Up

Tidal AKA Wayne Hay, has been producing since 1998 and DJing since 2000. He also runs one of the few Atmospheric / Progressive Drum 'n' Bass left called 'Advection Music', Tidal also features on LTJ Bukems's Good Looking Records, and has also played at.. Born in Birmingham (UK) Tidal Aka Wayne, has always been into music since an early age. Some of his early musical memories come from many genre's including Reggae, Electro, Hip-Hop, Soul & Electronica. It was through his older brother, how he got exposed to fresh music growing up. 1995 was a pivotal year for Tidal, this was when he first got introduced to the sounds of LTJ Bukem & MC Conrad. Through listening to a lot of tunes, from various mix albums like Promised Land & Logical Progression, he decided to venture into production in 1998, and then later progressed into Djing back in 2000. Since his first demo, Tidal has received interest over the years from labels like Covert Operations, Inperspective and International labels like Testflight (D.C), Warm Communications (Texas), Offshore Recordings (NYC) and Camino Blue (Germany). In 2008 Tidal’s track ‘Impressions’ which had been played out amongst the Birmingham based Central Projection Crew, later got signed to Good Looking Records, which was released in 2009. Since his debut release on Good Looking Records, Tidal's 'Impressions' has done the rounds worldwide, with DJ Support from the likes of Fabio (BBC Radio 1), Big Bud, DJ Marky (Innerground) and Makoto (Japan). The track was also featured on Fabric Live (46) Mixed by LTJ Bukem. Tidal continues to push the deeper side of drum and bass with the Advection and Odyssey Collective. Tracklist 01. M-Beat featuring Jamiroquai - Do U Know Where You're Coming From (Intelligent Groove Mix) - Renek (1996) 02. Rood Project - Thunder - White House (1994) 03. Baby D - Take Me To Heaven - Production House (1996) 04. Shamen - Transamazonia (LTJ Bukem Mix) - One Littler Indian (1996) 05. Ken Ishii - The Stretch (Shogun Remix) - R&S (1996) 06. Model 500 - Incredible - R&S (1999) 07. Everything But the Girl - Walking Wounded - Virgin (1996) 08. Helen T - Diverse City - I.D.M / Bermuda Triangle (1996) 09. Aural Imbalance & Forenics - Catalyst - Cadence (2003) 10. PHD - Cyber Genetics - Ascendant Grooves (1999) 11. Seba - Camoflauge - Looking Good - (1998) 12. Chris J - Windforce - Gamma Ray - (2001) 13. Future Engineers - The Silence (ASC Remix) - White 14. Faith Massive - Shelter (Cedar Remix) - N*Soul (1999) About the Podcast: Starting things off with tracks from when I was 16 Years old, jungle music was introduced to me from older Rich, Big shouts to him. A lot of my introductions were via CD Compilations and Tapes including this ones like Jungle Massive, Artcore, Jungle Renegades, Jungle Techno. I didn't start buying Vinyl until I was 18 and didn't start mixing until I was 20, by the time the milluem hit really started listening a lot more and ventured into production a few years later.

Having released popular Drum & Bass music since 1997, on leading labels such as Renegade, Partisan, 720 degrees, and Good Looking Records, Future Engineers finally launch brand new imprint Transference Recordings. It is designed to become a regular outlet – via digital download stores – for top quality and forward-thinking, deep D&B music. The label sets off on a very strong foot with Future Engineers delivering the superb Ellipse EP – a refreshingly diverse collection of deeper D&B tracks from the top drawer. Full Bio Lee Batchelor and Keir Cleminson are Future Engineers, a Glasgow based drum and bass production outfit, best known for their music that was released by LTJ Bukem’s Good Looking Organisation between 1999 and 2003, and also for the progressive, dance floor friendly DJ sets that they have performed across Europe. They released their seminal 12” (“The Silence”/”Shattered”) on Renegade Recordings in 1997, quickly followed by popular material on labels such as Temple Records and Partisan. Almost 10 years since they first broke onto the scene, they have retained their reputation as a boundary-pushing and prolific drum and bass act. Their solid working relationship has been built on the foundations of a life-long friendship, having grown up together in North London and then Glasgow when Keir relocated there in 1990, followed by Lee in 1994. From early childhood they were constantly surrounded by music – from studio sessions to live concerts – due to their fathers who were working together in the industry. Most notably, Keir’s father was lead guitarist in The Sensational Alex Harvey Band and Lee’s Father co-produced some of their albums (he also co-produced “Slide Away” for Oasis on their debut album “Definitely Maybe” years later!) As a result of this exposure and the uptake of musical and studio know-how, it was a natural choice by Lee and Keir to pursue a similar career to their fathers. As teenagers in the 1990s, they listened to London’s pirate radio stations, following the progression of early Hardcore through to Hardcore Techno, Jungle Techno, Jungle and then Drum and Bass – learning the sounds along the way with a view to producing material of their own in future. When Lee moved to Glasgow, bringing with him some studio equipment that he had collected, the pair began to experiment in writing a variety of styles of drum and bass. But it wasn’t until they heard LTJ Bukem’s first Radio One Essential Mix in July 1995 that they identified the kind of sound they were most interested in creating, and tailored their approach in the studio accordingly. Around this time, they also befriended a fellow Glaswegian drum and bass producer, KMC, who had built up a good reputation (and knowledge of the scene) outside Scotland, and he encouraged them to relinquish a demo DAT in order to start the process of getting material signed to record labels. Good Looking Records The relationship with Good Looking Records began in 1999 when LTJ Bukem selected a track entitled “Timeshift” to be part of the third volume of his legendary Progression Sessions mix CD series. It was an instant fans’ favourite due to the futuristic synths and technological vibes that would become two abiding ingredients of Future Engineers’ sound. In the ensuing years, the duo released tracks on a variety of labels under the Good Looking Organisation umbrella – such as PHD’s Ascendant Grooves, Tayla’s Nexus Records and Blame’s 720 Degrees. The latter proved to be a particularly significant outlet for them within the Good Looking camp and their 12”s, “Changes in State”/”Rogue Comet” and “Momentum”/”Organism” played no small part in the fast growing reputation of that particular label. Technetum EP By 2001 they were so highly regarded by the Good Looking Organisation, having almost all of their new music picked up by the labels within, that Lee and Keir accepted the offer to sign an exclusive artist contract. In addition to agreeing a structured release schedule, this presented an opportunity for Future Engineers to showcase their DJ talents at some of the Progression Sessions nights throughout Europe. It proved to be a good year for the Engineers; a track entitled “Merge” was selected to appear on MC Conrad’s Logical Progression Level 4 CD, and the boundary pushing, dance floor shaker “Echo-Location” was one of the highlights of LTJ Bukem & MC Conrad’s Progression Sessions 6, recorded live in the USA. 2002 saw the release of the “Technetium EP” – four slices of hard-edged, techno-orientated, atmospheric drum and bass – which was widely acclaimed by fans and music critics alike. This actually turned out to be the penultimate Future Engineers release on Good Looking Records – the last being a remix of Pariah’s “Midnight” in 2003. Almost three years later, in early 2006, despite a lot of support and guidance from LTJ Bukem, MC Conrad and the rest of the Good Looking Organisation over the years, Future Engineers’ request to terminate the exclusive contract they had signed with them was accepted very amicably. This event marked the beginning of a new era and they did not hesitate to make their mark on the scene once again, releasing the popular “Down-Time” and a remix of Matizz’s “Through My Eyes” on Camino Blue Recordings, and a three track plate (including the much anticipated “Eon”) on Covert Operations Recordings. Comeback The comeback is still building momentum as Lee and Keir continue to write more and more fresh material in the studio and DJ throughout Europe once again. Furthermore, the imminent launch of their brand new imprint – Transference Recordings – spells exciting times ahead… TrackList 1. Malaky - Spiralled - Fokus Recordings 2. Walkr - All I Need Ft Charli Brix - Warmer - Celsius Recordings 3. Hiddenwave - Up All Night - Scientific Records Dub 4. Ed:it - Kovacs - Shogun Audio 5. EastColors - Vaska - Demand Records 6. Dauntless - Departures - Dispatch Recordings Dub 7. S.P.Y - Dreaming - Hospital Records 8. Ed:it - Nevermind It - Shogun Audio 9. Future Engineers - Eternity - Plasma Audio 10. Radicall - Allure (Future Engineers Remix) - Transference Dub 11. Naibu - Fighting for Attention (Future Engineers Remix) - Scientific Records  12. Seba & Ulrich Schnauss - M7 - Blu Mar Ten Music 13. Cern - Premonition - Dispatch Recordings 14. Homemade Weapons - Heiress - Samurai Music 15. Nami - Imitator - Lifestyles Music 16. Revaux ft. Charli Brix -  Colours - Lifestyles Music Dub 17. Dauntless & Fuj - Lucidity - Dispatch Recordings Dub 18. Nami & 'Lo - Inside - Lifestyles Music 19. Dauntless & Fuj - Change of Plan - Transference Dub 20. Dauntless & Fuj - Shadow Beast -  Dispatch Recordings Dub

To say I was honoured when asked to do this is an understatement. A chance to put a few tracks together for someone special… in support of someone special - Long-time friend and all round legend, James (Dirty Abits)! 3 years ago we lost a special lady, a sister a daughter and a fellow DJ. The tracks range from 1993 to literally this week. I wanted to tip a hat to some of the tracks Sam liked to mix and then play a few that I think she might have liked too. A broad mix of labels and styles to compliment her taste and hopefully something for everyone. Really enjoyed doing this.. Hope it makes you smile. d mix 1, Future Sound of London – Papua New Guinea (High Contrast remix) (White) 2, Marcus Intalex – Temperance (Soul:r) 3, Ram Trilogy – Titan (Ram) 4, Wots My Code – Dubplate (Total Science remix)( White) 5, Digital & Spirit – Phantom Force (Phantom Audio) 6, Stealth – The Ladder (Ram) 7, Fresh – Signal (Ram) 8, Q Project - Champion Sound (DLR remix) (C.I.A) 9, >> Break – Who Go Da Funk (Symmetry Recordings) 10, Molecular – Twisting Nether (Citrus) 11, Adam F – Circles (Andy C remix) (F-Jams) 12, Ed Rush, Optical & Fierce – Alien Girl (Prototype Recordings) 13, Commix – Old School String (Dispatch) 14, Goldie – I Think Of You (Metalheadz) 15, LSB ft. DRS & Tyler Daley – Missing You (Soul:r) 16, Marcus Intalex – Step Forward (Soul:r) 17, Apollo Two – Atlantis(I Need You) (LTJ Bukem remix)(Good Looking Records) 18, Dr S Gachet - Remember The Roller (Audio Maze) 19, Foul Play – Being With You (Foul Play remix) (Moving Shadow)

Drum N Bass/Ambient/Jazzy/Liquid.   Some old school, jazzy, liquid, ambient drum n bass... The classics from the Bukem era from Good Looking Records, Moving Shadow featuring Intense, Future Bound, PFM, JMJ & Flytronix. There's also some rolling Hospital Records High Contrast tunes such as his remix of Adele's 'Hometown Glory'. Long live D&B!   Goldie - Angel, Omni Trio - Renegade Snares (High Contrast mix), Omni Trio - Sanctuary (Funky Technicians Remix), High Contrast - Adele - Hometown Glory (High Contrast mix), Intense - Breathless, PFM - One And Only, Frank De Wulf - Drums In A Grip (Wax Doctor Mix), Alex Banks - Control, Influx Datum - Alright, Aphex Twin - (Untitled) Q-Chastic A1, Totally Enormous Extinct Dinosaurs - Garden (Calibre Remix), High Contrast - Kiss Kiss Bang Bang, Carlito - Heaven, JMJ & Flytronix - In Too Deep, Intense - Only You, Adam F - Circles, Morcheeba (feat. Judy Tzuke) - Blue Chair (Silence Groove remix), dBridge - For Tonight (Original Mix), Omni Trio - Renegade Snares (Original Mix), Goldie - Kemistry, Ivy Lab & Hydro - Make It Clear (feat. Frank Carter III & Lucy Annika), Future Bound - Sorrow, Deep Blue - The Helicopter Tune, Future Bound - Blue Mist, Origin Unknown - Valley of the Shadows

It's my pleasure to have Physical Illusion on this week with a mix over one hour long! I received his demo a few months ago and immediately was hooked by his unique sound. It's a blend of liquid, deep, intelligent and classic drum and bass. Hailing from Ukraine, he is one his country's leading Drum & Bass producers. Being signed to the legendary Good Looking Records, Physical Illusion has been able to release his music on an impressive list of labels such as Fokuz, Syndrome Audio and IM:LTD and has been supported by LTJ Bukem, Future Prophecies and Paradox. Besides producing music, he is also the founder of his own imprint Intelligent Recordings which has a strong roster of deep drum and bass artists such as Physics, Kooka and Hectix. TRACKLISTING1. Physical Illusion - The Music (Good Loking Records) 2. Physical Illusion & Sunny Crimea - Сonfused (NexGen Records) 3. Physical Illusion & Sunny Crimea - Something About Love (NexGen Records) 4. Physical Illusion & Sunny Crimea - About You (NexGen Records) 5. Physical Illusion & Sunny Crimea - Soul Harmony (NexGen Records) 6. Physical Illusion - Evening Of Jazz (Intelligent Recordings) 7. Physical Illusion - Forgotten Memories (Intelligent Recordings) 8. Physical Illusion - Camelopard (Good Loking Records) 9. Flame & Physical Illusion - Bygones (Celsius Recordings) 10. Physical Illusion - Blue Sea (Intelligent Recordings) 11. Physical Illusion - Awakening (Intelligent Recordings) 12. Atmodisiac & Physical Illusion - Space Guide (Reminiscence Audio) 13. Physical Illusion & Sunny Crimea - Remember When (NexGen Records) 14. Physical Illusion & Sunny Crimea - Freedom (NexGen Records) 15. Sunny Crimea & Physical Illusion Feat Identified - Learn To Love (NexGen Records) 16. Physical Illusion & Sunny Crimea & MSdoS - Time (NexGen Records) 17. Physical Illusion - Return To Africa (Intelligent Recordings) 18. Physical Illusion - Grooves Of Sixtieth (Intelligent Recordings) 19. Physical Illusion, FullCasual & Kooka - Toxin (Intelligent Recordings) 20. Physical Illusion & Sunny Crimea - Smokey (NexGen Records) 21. Against & Physical Illusion - Sakura (Intelligent Recordings) 22. Flame & Physical Illusion - Satellites (Fokuz Limited Recordings) 23. Stereotype & Physical Illusion - Sapphire (Modulate Recordings) 24. Physical Illusion - Cosmonaut (Intelligent Recordings) 25. Stereotype & Physical Illusion - Shaolin Temple (Modulate Recordings) 26. Physical Illusion - Funky Chords (Intelligent Recordings)

It's my pleasure to have Physical Illusion on this week with a mix over one hour long! I received his demo a few months ago and immediately was hooked by his unique sound. It's a blend of liquid, deep, intelligent and classic drum and bass. Hailing from Ukraine, he is one his country's leading Drum & Bass producers. Being signed to the legendary Good Looking Records, Physical Illusion has been able to release his music on an impressive list of labels such as Fokuz, Syndrome Audio and IM:LTD and has been supported by LTJ Bukem, Future Prophecies and Paradox. Besides producing music, he is also the founder of his own imprint Intelligent Recordings which has a strong roster of deep drum and bass artists such as Physics, Kooka and Hectix. TRACKLISTING1. Physical Illusion - The Music (Good Loking Records) 2. Physical Illusion & Sunny Crimea - Сonfused (NexGen Records) 3. Physical Illusion & Sunny Crimea - Something About Love (NexGen Records) 4. Physical Illusion & Sunny Crimea - About You (NexGen Records) 5. Physical Illusion & Sunny Crimea - Soul Harmony (NexGen Records) 6. Physical Illusion - Evening Of Jazz (Intelligent Recordings) 7. Physical Illusion - Forgotten Memories (Intelligent Recordings) 8. Physical Illusion - Camelopard (Good Loking Records) 9. Flame & Physical Illusion - Bygones (Celsius Recordings) 10. Physical Illusion - Blue Sea (Intelligent Recordings) 11. Physical Illusion - Awakening (Intelligent Recordings) 12. Atmodisiac & Physical Illusion - Space Guide (Reminiscence Audio) 13. Physical Illusion & Sunny Crimea - Remember When (NexGen Records) 14. Physical Illusion & Sunny Crimea - Freedom (NexGen Records) 15. Sunny Crimea & Physical Illusion Feat Identified - Learn To Love (NexGen Records) 16. Physical Illusion & Sunny Crimea & MSdoS - Time (NexGen Records) 17. Physical Illusion - Return To Africa (Intelligent Recordings) 18. Physical Illusion - Grooves Of Sixtieth (Intelligent Recordings) 19. Physical Illusion, FullCasual & Kooka - Toxin (Intelligent Recordings) 20. Physical Illusion & Sunny Crimea - Smokey (NexGen Records) 21. Against & Physical Illusion - Sakura (Intelligent Recordings) 22. Flame & Physical Illusion - Satellites (Fokuz Limited Recordings) 23. Stereotype & Physical Illusion - Sapphire (Modulate Recordings) 24. Physical Illusion - Cosmonaut (Intelligent Recordings) 25. Stereotype & Physical Illusion - Shaolin Temple (Modulate Recordings) 26. Physical Illusion - Funky Chords (Intelligent Recordings)

It's my pleasure to have Physical Illusion on this week with a mix over one hour long! I received his demo a few months ago and immediately was hooked by his unique sound. It's a blend of liquid, deep, intelligent and classic drum and bass. Hailing from Ukraine, he is one his country's leading Drum & Bass producers. Being signed to the legendary Good Looking Records, Physical Illusion has been able to release his music on an impressive list of labels such as Fokuz, Syndrome Audio and IM:LTD and has been supported by LTJ Bukem, Future Prophecies and Paradox. Besides producing music, he is also the founder of his own imprint Intelligent Recordings which has a strong roster of deep drum and bass artists such as Physics, Kooka and Hectix. TRACKLISTING1. Physical Illusion - The Music (Good Loking Records) 2. Physical Illusion & Sunny Crimea - Сonfused (NexGen Records) 3. Physical Illusion & Sunny Crimea - Something About Love (NexGen Records) 4. Physical Illusion & Sunny Crimea - About You (NexGen Records) 5. Physical Illusion & Sunny Crimea - Soul Harmony (NexGen Records) 6. Physical Illusion - Evening Of Jazz (Intelligent Recordings) 7. Physical Illusion - Forgotten Memories (Intelligent Recordings) 8. Physical Illusion - Camelopard (Good Loking Records) 9. Flame & Physical Illusion - Bygones (Celsius Recordings) 10. Physical Illusion - Blue Sea (Intelligent Recordings) 11. Physical Illusion - Awakening (Intelligent Recordings) 12. Atmodisiac & Physical Illusion - Space Guide (Reminiscence Audio) 13. Physical Illusion & Sunny Crimea - Remember When (NexGen Records) 14. Physical Illusion & Sunny Crimea - Freedom (NexGen Records) 15. Sunny Crimea & Physical Illusion Feat Identified - Learn To Love (NexGen Records) 16. Physical Illusion & Sunny Crimea & MSdoS - Time (NexGen Records) 17. Physical Illusion - Return To Africa (Intelligent Recordings) 18. Physical Illusion - Grooves Of Sixtieth (Intelligent Recordings) 19. Physical Illusion, FullCasual & Kooka - Toxin (Intelligent Recordings) 20. Physical Illusion & Sunny Crimea - Smokey (NexGen Records) 21. Against & Physical Illusion - Sakura (Intelligent Recordings) 22. Flame & Physical Illusion - Satellites (Fokuz Limited Recordings) 23. Stereotype & Physical Illusion - Sapphire (Modulate Recordings) 24. Physical Illusion - Cosmonaut (Intelligent Recordings) 25. Stereotype & Physical Illusion - Shaolin Temple (Modulate Recordings) 26. Physical Illusion - Funky Chords (Intelligent Recordings)

Panda presents Blu Mar Ten. Formed in the big-bang of 90's drum & bass and regular faces at Rage, Metalheadz, Speed & AWOL, Blu Mar Ten were rapidly spotted by LTJ Bukem and signed to Good Looking Records, cementing their position in the genre as originators of complex, atmospheric music. The last 15 years have seen Blu Mar Ten working with some of the most respected labels and carving out one of the most respected catalogues in drum & bass. In 2009 Blu Mar Ten delivered their 'Natural History' album, covering a myriad of d&b styles. This summer sees a series of remixes from 'Natural History' featuring reworkings from Klute, Seba, Bop, Stray and Badmammal. The Natural History remixes are out now and available on vinyl and mp3 from all good stores. Visit http://www.blumarten.com for details In this artist-only one-hour mix, Blu Mar Ten blend 19 of their own tracks from 2003 to 2010 in just over 60 minutes. Lock in and leave your appreciation for them in the comments! All these tracks are available to buy. Visit http://www.itunes.com/blumarten or other good music stores to get them TRACKLISTING01 - Blu Mar Ten - By The Time My Light Reaches You I'll Be Gone (Klute remix) - Blu Mar Ten 02 - Blu Mar Ten - Nobody Here - Blu Mar Ten 03 - Blu Mar Ten - Nobody Here (Kastle remix) - Blu Mar Ten 04 - Blu Mar Ten - All Over Again (Sabre remix) - Exceptional Records 05 - Blu Mar Ten - Made of Air - Blu Mar Ten 06 - Blu Mar Ten - If I Could Tell You (Stray remix) - Blu Mar Ten 07 - Blu Mar Ten - Anytime Soon - Exceptional Records 08 - Blu Mar Ten - Black Water - Exceptional Records 09 - Blu Mar Ten - Bedroom Eyes - Blu Mar Ten 10 - Blu Mar Ten - If I Could Tell You - Blu Mar Ten 11 - Blu Mar Ten - Believe Me (Bop remix) - Blu Mar Ten 12 - Blu Mar Ten - Above Words - Blu Mar Ten 13 - Blu Mar Ten - Close VIP - Blu Mar Ten 14 - Blu Mar Ten - Close - Blu Mar Ten 15 - Blu Mar Ten - Clipjoint - Blu Mar Ten 16 - Blu Mar Ten - Eight Rounds Rapid - Blu Mar Ten 17 - Blu Mar Ten - Storyteller (Blame remix) - Deep Structure 18 - Blu Mar Ten - Headturner - Tangent Recordings 19 - Blu Mar Ten - By The Time My Light Reaches You I'll Be Gone - Blu Mar Ten

Panda presents Blu Mar Ten. Formed in the big-bang of 90's drum & bass and regular faces at Rage, Metalheadz, Speed & AWOL, Blu Mar Ten were rapidly spotted by LTJ Bukem and signed to Good Looking Records, cementing their position in the genre as originators of complex, atmospheric music. The last 15 years have seen Blu Mar Ten working with some of the most respected labels and carving out one of the most respected catalogues in drum & bass. In 2009 Blu Mar Ten delivered their 'Natural History' album, covering a myriad of d&b styles. This summer sees a series of remixes from 'Natural History' featuring reworkings from Klute, Seba, Bop, Stray and Badmammal. The Natural History remixes are out now and available on vinyl and mp3 from all good stores. Visit http://www.blumarten.com for details In this artist-only one-hour mix, Blu Mar Ten blend 19 of their own tracks from 2003 to 2010 in just over 60 minutes. Lock in and leave your appreciation for them in the comments! All these tracks are available to buy. Visit http://www.itunes.com/blumarten or other good music stores to get them TRACKLISTING01 - Blu Mar Ten - By The Time My Light Reaches You I'll Be Gone (Klute remix) - Blu Mar Ten 02 - Blu Mar Ten - Nobody Here - Blu Mar Ten 03 - Blu Mar Ten - Nobody Here (Kastle remix) - Blu Mar Ten 04 - Blu Mar Ten - All Over Again (Sabre remix) - Exceptional Records 05 - Blu Mar Ten - Made of Air - Blu Mar Ten 06 - Blu Mar Ten - If I Could Tell You (Stray remix) - Blu Mar Ten 07 - Blu Mar Ten - Anytime Soon - Exceptional Records 08 - Blu Mar Ten - Black Water - Exceptional Records 09 - Blu Mar Ten - Bedroom Eyes - Blu Mar Ten 10 - Blu Mar Ten - If I Could Tell You - Blu Mar Ten 11 - Blu Mar Ten - Believe Me (Bop remix) - Blu Mar Ten 12 - Blu Mar Ten - Above Words - Blu Mar Ten 13 - Blu Mar Ten - Close VIP - Blu Mar Ten 14 - Blu Mar Ten - Close - Blu Mar Ten 15 - Blu Mar Ten - Clipjoint - Blu Mar Ten 16 - Blu Mar Ten - Eight Rounds Rapid - Blu Mar Ten 17 - Blu Mar Ten - Storyteller (Blame remix) - Deep Structure 18 - Blu Mar Ten - Headturner - Tangent Recordings 19 - Blu Mar Ten - By The Time My Light Reaches You I'll Be Gone - Blu Mar Ten

Panda presents Blu Mar Ten. Formed in the big-bang of 90's drum & bass and regular faces at Rage, Metalheadz, Speed & AWOL, Blu Mar Ten were rapidly spotted by LTJ Bukem and signed to Good Looking Records, cementing their position in the genre as originators of complex, atmospheric music. The last 15 years have seen Blu Mar Ten working with some of the most respected labels and carving out one of the most respected catalogues in drum & bass. In 2009 Blu Mar Ten delivered their 'Natural History' album, covering a myriad of d&b styles. This summer sees a series of remixes from 'Natural History' featuring reworkings from Klute, Seba, Bop, Stray and Badmammal. The Natural History remixes are out now and available on vinyl and mp3 from all good stores. Visit http://www.blumarten.com for details In this artist-only one-hour mix, Blu Mar Ten blend 19 of their own tracks from 2003 to 2010 in just over 60 minutes. Lock in and leave your appreciation for them in the comments! All these tracks are available to buy. Visit http://www.itunes.com/blumarten or other good music stores to get them TRACKLISTING01 - Blu Mar Ten - By The Time My Light Reaches You I'll Be Gone (Klute remix) - Blu Mar Ten 02 - Blu Mar Ten - Nobody Here - Blu Mar Ten 03 - Blu Mar Ten - Nobody Here (Kastle remix) - Blu Mar Ten 04 - Blu Mar Ten - All Over Again (Sabre remix) - Exceptional Records 05 - Blu Mar Ten - Made of Air - Blu Mar Ten 06 - Blu Mar Ten - If I Could Tell You (Stray remix) - Blu Mar Ten 07 - Blu Mar Ten - Anytime Soon - Exceptional Records 08 - Blu Mar Ten - Black Water - Exceptional Records 09 - Blu Mar Ten - Bedroom Eyes - Blu Mar Ten 10 - Blu Mar Ten - If I Could Tell You - Blu Mar Ten 11 - Blu Mar Ten - Believe Me (Bop remix) - Blu Mar Ten 12 - Blu Mar Ten - Above Words - Blu Mar Ten 13 - Blu Mar Ten - Close VIP - Blu Mar Ten 14 - Blu Mar Ten - Close - Blu Mar Ten 15 - Blu Mar Ten - Clipjoint - Blu Mar Ten 16 - Blu Mar Ten - Eight Rounds Rapid - Blu Mar Ten 17 - Blu Mar Ten - Storyteller (Blame remix) - Deep Structure 18 - Blu Mar Ten - Headturner - Tangent Recordings 19 - Blu Mar Ten - By The Time My Light Reaches You I'll Be Gone - Blu Mar Ten

sometimes you have to go back to your roots... I grew up listening to a wide variety of music. But for a long time I was entranced with the world of the mellower style of drum n bass, or so called "Intelligent Jungle". LTJ Bukem became my hero along with his Good Looking Records artists such as (at the time) Blame, Seba, Intense, Big Bud and more. With a Style different from the dark brooding, bass heavy sounds of the traditional drum n bass, this style incorporated more jazz, ambient, and not-so-hard textures over crisp, lush, complex beats. So this is a tribute to a style I don't hear so much anymore. I have found this mix to be great while driving, so grab some gas and start up the engine... here is Elemental Forms. -Phrigid- **Tracklisting** 1 - Artemis - Elysian Fields 2 - MC Conrad - Dawn of Harmony (Big Bud Remix) 3 - Adam F - Circles 4 - Intersperse - High Moon 5 - Ethereal 77 - Religion 6 - JMJ & Flytronix - Delusion 7 - Ethereal 77 - Floation 8 - Mc Conrad - Nadiresonance (PHD Remix) 9 - PFM - In Love