If you thought Normski’s days of watching a room of young people going wild to dance music were over, then you are mistaken.
It’s a republican nightmare, but Britain’s fortunes are inexplicably linked with our Queen’s. Whether it’s Elizabethan New World exploration or Victorian industrialisation, Britain’s might requires reginae tactus. Yet never has the realm’s cultural wealth coincided with the Monarch, than with our Lizzie and pop music.
The mention of Skibadee in drum’n'bass speak is equivalent to that of MC royalty. As one of the true masters of the ceremony, he has been the main hype engine for many an underground rave since the embryonic stages of jungle and its superseding relative, drum’n'bass. Here, he divulges on the start of 2012 as well as touching on the state of a scene which he helped fortify.
Having collaborated together for Detboi’s Curse of the Voodoo Drums 2 EP last year, Detboi and Mista Men are back – this time with the former returning the favour and collaborating on the latter’s release.
My tickets to the Grammys, Brit Awards and even the NME awards were somehow lost in the post, so late last month in hope of airing my awards gown, I travelled to Norway for the Nordic Music Prize. Now in its second year, the prize (it’s 1 Million Kroner!) celebrates the best albums to come from Norway, Denmark, Iceland and Sweden. Surely, I was in for some Scando glitz?
Once upon a time, there was a fair-haired DJ that loved nothing more than collaborating with some of the biggest names in hip hop and RnB to make global hits.
With the infectious Bada Bing blaring out of speakers everywhere, Benny Banks discusses plans for his new album after signing to Warner, whether he’d sell out to the mainstream and why he quit crime for music.
“There is pressure on me,” Friction says, “Because I’ll be responsible for telling the world what’s new with drum’n'bass and getting it out there.”
In 2002, High Contrast (real name Lincoln Barrett) signed to seminal drum & bass label Hospital Records and now, nearly one decade later, he returns with his fourth studio album, The Agony & The Ecstasy.
As anyone who reads my blog will be well aware, I’m primarily into music that is DJ-based. From the very early days of my interest in electronic music I was always impressed with the skills that DJs have: being able to mix records in a noisy, busy club environment, to seamlessly thread together pieces of music, to be able to work out the right place to bring a new track in and get a good reaction from a large crowd of people and to be able to read your audience in order to keep them dancing all night – it really captured my imagination.
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