Thank you for taking your time!) To the matter at hand, your latest release was on a compilation Horsementality by Renegade Hardware label. How did you get there? Were you contacted by the people from the label? Or was it an accident? Or is there a phone number that you can call and tell, ‘hey guys, do you need some music for compilation?’)
I Came across the post on Facebook and it offered the opportunity to submit music for their last ever release on Renegade Hardware’s final chapter LP. It’s an influential label we have always respected in the Drum and Bass scene. We thought what better way is there for an opportunity to get our music and name heard.Parallel Minds was designed for that ‘old school’ hardware sound and we were surprised in some way, as we were expecting a more neurofunk album and therefore very honoured to be part of it.
It was a pleasant surprise to have you on a compilation. Do you have any other great stuff for us planned in the nearest future?
Next up we have our own debut album ‘Secret Space’’ being released on Inception Audio on the 28th August 2017.
Then followed up with a E.P. in the near future. We have just finished a remix with ‘Bassment – Split’ on Counterpoint Recordings which is available now to buy now and we are always working on new and exciting projects.
We cannot ignore your collaborations with Tom Small from Czech Republic and Torn from Russia, on Planet I:A compilation. How was the music composed? Was there something you learned from them, or vice versa? Were there any differences in composing approach between you?
The way we approach music is always forward thinking, so sometimes you are unsure on the direction you are going to take. Collaborating with other artists allows you to hear their interpretation of your music and vice versa. It’s about good communication and understanding of the music, it’s always an interesting journey from start to finish and being able to transform something into a great sound.
Your work is often present in a lot of compilations lately, and the collaborations with other musicians and compositions with them with harmonic symbiosis of your personal style and other musicians’ styles are a proof to your mastery. It can be heard in your collaboration with Nickbee from Ukraine. Was it easy to work on the music? Do you know someone else from Ukraine, Russia or Czech Republic?
We have always been a fan of NickBee’s music and it was a pleasure to work with him on the project NickBee & Displaced Paranormals – Mothman.
It came quite easily to both of us to combine our sounds and an understanding of our concept. We also have a collaboration with Torn – No Rules and many more on our LP and hope to get involved with more with artist on our same wave length.
Let us speak about the bigger picture. Do you have the impression that D’n’B music goes the same old road again, when everyone is tired of dancefloor dancing hits and wants some dark deep stuff? How did you choose your sound? What made you to choose to compose this specific stuff, and not any other kind of stuff?
We wanted to make our sound more musical, and to create a feeling or emotion deep within rather than some senseless noise which we find the music scene is flooded with. People need beautiful things even in the darkness, so we try and be versatile with our style but keep our sound pure.
What do you think about the autonomic movement? Some people think that autonomic is halfstep/halftempo/halftime because the sound is uncommon, or they say that it is 85 bpm D’n’B, yet 85 bpm is actually 170 in fact. Dbridge said that it is wrong to think of it that way, because autonomic is closer to experimental D’n’B. Do you agree with this or you have another opinion?
Opening up new perceptions is always a good thing, and I feel it’s an expression to experiment playing with drum patterns and not be ring fenced to the normal kick snare rhythm pattern we often hear. We always try and make our music have a sense of dance floor whilst keeping it minimal as well.
What do you think about non-widespread genres in D’n’B? Should they be brought to public attention? Because, for example, neurofunk is very diverse, as some of it may border with jump up, some of it sounds very minimal and deep, just like microfunk without neurobass; yet people do not understand how to find dance-oriented or deep music because of the same name of the genre.
I definitely feel the more deeper musical variations of Drum and Base do not get enough exposure and so can get lost or forgotten about. Seems to be more focused on the mainstream sound and the reactions from listeners who think that the ‘in your face sound’ is what this scene is all about. It doesn’t necessarily mean it’s better or more powerful. I feel it’s a shame our music and others do not get more airtime, so sometimes I question why that is?
In 2007 Dev Pandya said in an interview for DJ AM magasine, ‘I do not see myself as a part of D’n’B corporation and I am not afraid to criticize shoddy music. This is unique for England, most people prefer to praise each other, clapping on the shoulder’.
How do you think about this kind of approach in 2017, and do you consider yourself as a part of D’n’B movement or do you prefer to stay away? Have you ever listened to a release from a known label or musician, thinking ‘what the fuck is this shit?’ If you have, how often was it? :)
There is a lot of soulless music out there and other music which we would consider very bad, but each to their own as the saying goes. We are only concerned with our own music and the sound which we believe in, so putting out a high standard of release is what it’s about for us. There’s always gonna be bad music in all genres.
D’n’B is very different in 2017 from what it was in 2007. It is now essentially as popular as techno or house or trance, with more commercial or experimental sound. The online stores are filled with both great releases and high-tech garbage, but nonetheless a lot of people from D’n’B movement tell that D’n’B cannot be criticized because it is the underground genre; but it isn’t for a quite while already.
Do oyu think it is necessary to criticize D’n’B?
There is nothing wrong with criticizing music as long it’s done in a constructive manor so helping the scene in general.
Do you criticize your own work or are you satisfied with everything? What is your best track in your own opinion and why?
One of the hardest things for us, is to appreciate our own music. We always over thinking and setting ourselves high standards which is not a bad thing, but it can slow down your releases.
Best track for me is Displaced Paranormals& Tom SMall – Synchronize
What can you advise to beginner musicians, and to D’n’B musicians in particular?
Not to ‘copycat’ music but to find yourself and your own sound. There’s nothing wrong finding inspiration but build a unique sample library of Drum and Bass sounds and avoid sample packs because you will sound like hundreds of artists trying the same thing.
Please name 5 favorite tracks in any genre.
Rufige Kru – VIP Riders Ghost
Ed Rush, Optical & Fierce – Alien Girl
Roni Size Reprazent – Brown Paper Bag
Boom Boom Satellites – Dub me Crazy (optical remix)
Nasty Habits – Shadow Boxing (Doc Scott)