azt hiszem, nem volt még... ebből a cikkből nagyon le lehet venni a stílusukat
knowledge wrote:
Inperspective Records
Break editing, drumfunk and choppage is very serious science. Weeks are spent deep in the lab, digging and sampling, chopping and slicing, EQing and compressing breaks to the total exclusion of natural light, girlfriends and everyday life. It's a very serious thing, breaks. Except in the hands of the Inperspective records crew.
Years of complex jungle beatage have obviously taken their toll on Equinox, Senses and Chris Inperspective. Joining them on an overcast bank holiday, Knowledge interrupts Chris and Equinox's favourite game: name the jungle classic. The rules are simple; the results hilarious to witness. Equinox sings a classic drum pattern. Chris has to name that jungle tune. "A four bar loop is usually enough," explains Equinox. "If he doesn't do it from that I have to do a bass pattern. Dwee dwooe dwee!" The three of them dissolve into laughter.
"Me and Equinox used to work together and we were bored," continues Chris, by way of explanation. "We used to sing Wax Doctor tunes and mix them into each other. We had a lot of time on our hands at that job."
The time spent at that job cemented Chris and Equinox's friendship. The duo met back in 1994 when their lives revolved around one club, Innocence at the Lazer Drome in Peckham. "Pure beatage used to get laid down there," eulogises Equinox. "Remarc played there. Bizzy B, Wax Doctor, Invisible Man, Goldie, Randall, SS, Hype and Micky Finn. I went every week for two or three years in a row. Every time I went there I heard something totally different that inspired me to make music."
Back then it wasn't just the diversity of the music that was so inspirational, but the cultural diversity too. "Innocence's crowd was really mixed: Asians, Chinese, Indians, everything," explains Equinox. "I was the little kid then, everyone back then was a lot older. People were coming in from the rave scene. That's why you had the hip hop, the house and the early techno influence. All them boys were brought up listening to that mix." That musical foundation and the jungle that stemmed from it at Innocence remains a source of inspiration that remains with Equinox to this day: "I used to just stand in the crowd with my eyes shut going 'gwann - what is this tune man!?' I'd get taken away."
The '90s rolled on with players like Photek, Digital and Source Direct on form. Inspired by their experiences, Chris and Equinox set about starting a label in 1997. Then came Ed Rush, Optical and more importantly, their many clones. "Don't get me wrong, the first couple of Ed Rush & Optical tunes were running mate, but then everyone was playing all of them. Our distributors were saying to us 'no one wants to hear this style anymore' - that's why we had so many problems starting Inperspective."
Times were hard if you liked chopped beats. In retrospect lots of people now blame Alex Reece's 'Pulp Fiction' for popularising the rhythmically simpler "two-step" style beat. "I do think that tune was responsible," says Chris. "You can quote me on this: 'I hate Pulp Fiction.' I broke my copy I hated it that much - even though I liked the b-side 'Chill Pill'. It did my head in. But whatever, maybe if it hadn't happened we wouldn't be doing what we're doing now because we'd be happy with the norm."
It would be several years before Inperspective records would return, but in the meantime the boys threw their weight behind Technicality, the night at Herbal, east London, designed to keep the art of choppage part of the spectrum of drum & bass. Started in October 2001 the night struggled at first. But helped by friends like Blame and Paradox, the Technicality sound was quietly introduced to the scene headz Chris and Equinox so looked up to.
But it was Bailey and the radio exposure he created in 2003 that really brought the Inperspective sound to the attention of a whole new audience. Tunes like Equinox's 'Acid Rain' and 'Troubled Mind' got rinsed on his 1Xtra show. Perhaps it sounded fresh to drum & bass' newest fans. Perhaps it challenged what drum & bass had become and was for. But either way by early 2004 forums were ablaze with opinion and banter about choppage.
Inperspective records make you ask: what is drum & bass? It is dance music, strictly for the rave? Is it listening music, designed only for the ear? Can d&b draw from its own past to go forward? How fast or messy can it go before it's not d&b anymore? Does a tune like 0=0's 'Soul Hunter Testifies' constitute d&b and more to the point who says what's d&b and what isn't?
"If you're making Amen's over 175bpm you're in Rephlex territory," reckons Chris. "Totally fucked up, edited stuff: it's another genre. 0=0 makes tracks that are drum & bass but really on the border. 'Soul Hunter Testifies' is about as far as you can possibly go and still call it drum & bass. Just. By the skin of its teeth."
"Everyone's got their opinion about where that line should be," reckons Equinox. "We've got our opinion. And respect to people like Aphex Twin and Squarepusher. I don't believe in this boundary shit man. Who is to say what we should make and what we shouldn't make?"
"Personally drum & bass is drum AND bass. We don't call it that for nothing. Beats and weightline. I wanna hear BASS, dubwise. Because that's where it comes from. What's the point in calling it d&b if it doesn't have those two elements in them? Blues, jazz, drum & bass they've all got their signatures...
"...but that can be stretched," cuts in Senses.
"But not by people within drum & bass recently," insists Chris.
Perhaps all this debate on the meaning of d&b has simply confused a section of the d&b community, those who know the genre as Friday night rave music alone. "There has been this really stupid resistance to what we're doing," admits Chris. "We're not trying to force what we do down anyone's throats. We're just there and if you like what we do, come and enjoy it. A lot of people are very negative about what we're trying to do."
"There seems to be a perception that breaks people are supposed to be arrogant," continues Senses. "Some of that has stemmed out of the whole forum culture."
"I really think that a lot of the people on the forums are people who don't regularly go out as such, I really do," concludes Chris, "because a lot of them have a misconception about the scene and how it is."
Despite some forum headz' perceptions that the Inperspective crew are arrogant, elitist or regressive, Knowledge's experience is of three total musical devotees who're not afraid to work for what they believe in, but are not afraid to take the piss out of themselves in the process. Just a few moments in their company and the hysterical banter crushes all the misconceptions. If they're not debating how James Bond would fuck if he were a black man, they're describing their imaginary friend Wesley, an axe murderer. The finer points of why Arsenal used to be boring flit seamlessly into how the Technicality allnighter finished off the Fortress venue for good or how their new IMP imprint is different to Inperspective. They might sign a house tune or two. Even a discussion about non-dancing d&b VIPs can take the most unlikely of directions...
"...and the non dancing thing. We always get so pissed off by that," goes Chris.
"Big DJs and producers get too embarrassed to dance, they wanna look cool - but what was the reason they wanted to make the music in the first place?" asks Equinox. "Even when I have arthritis in both my knees, I'll bring the wheelchair in the club and be brocking out. "
"I think that's what people like about Technicality because we're in the middle of the dancefloor with them, dancing," continues Chris.
"I can't help myself, music makes me move, especially if I hear bass. I could be anywhere. If you're taking to me in a club and a bad tune comes on you wouldn't get a conversation out of me," admits Equinox.
"You don't know how infamous he is for that," laughs Senses. "He's done that in more dread situations believe me!"
"He once stopped having sex with an ex-girlfriend basically," spills Chris. "She's actually well known in the scene. She plays for..."
"NAAAAAH!!!!!! NO!!!!" screams Equinox, a look of complete terror in his eyes.
"Basically 'The Crane' comes on the radio and he gets up from having sex to listen to it," explains Chris, "but then I pissed myself listening to 'Slipstream' by Blu Mar Ten. I was in Bristol listening to Bukem and he put on 'Slipstream' when I was pilled up. The thing was I didn't want to go to the toilet so... I just wet myself deliberately, because I couldn't be arsed. I didn't want to miss the tune it was that runnin'."
"I don't have none of them stories, I'm normal," laughs Senses.
"I've been exposed!" moans a traumatised Equinox. "Anyway pussy doesn't come first, music comes first - especially Amen. The girl was a music girl herself, so she knew the score. She found it funny, she was in shock. Plus the pum-pum's always there, but I didn't have the tune! It only came on once. After that I tried to get a slice again, but got locked."
"If a girlfriend ever said to me 'give up the music or lose me' I'd be like 'OK: gwan now!'" laughs Chris in Anglo-Jamaican patois.
"At the end of the day when the girl's gone you're only going to put on music to make you feel better, like Futurebound's 'Sorrow,'" concludes Equinox.
Somebody give these boys a television show.
WORDS Martin Clark
PHOTOGRAPHY Cleveland Aaron
The Inperspective cover CD - blow by blow:
Breakage - Circumference
"Weightline! Proper old school roller. It's a nice introduction into the sound, it semi crosses over into what's happening in the scene now."
Fracture & Neptune - Worm Science
"The way they flex the 'Worm' break makes it sound dark. They flipped it, halftiming it."
Senses - Darker Self
"Pure darkside. It has an Arabic choral feel with a dubwise bassline. The tune's just horrid. A relentless Ike Turner break - it's milli!"
Equinox - Acid Rain (Breakage mix)
"Breakage brought it up to date, with his own slant. The original was way ahead of its time. More people know about Inperspective because of that tune, it's our biggest seller to date."
Breakage - Panic Room
"The sound of someone getting hanged up. Then being electrocuted."
Equinox - Breakestra Ting
"Exactly how to flex this break. A musical, atmospheric piece of breakbeat drum & bass"
Breakage - Comatose
"Beautiful music with really tough breaks. That's what it's about, the ying and the yang. Beats and strings."
Pieter K - One Of Them
"This is like cinema, it's an epic from start to finish. Brilliant."
Senses - St Germain
"I thought of it when I was walking down Rue St Germain. It started going through my head, a little loop," explains Senses.
Fracture & Neptune - Too Dog Gone Funky
"Double bass, funky, organic tune using a new break. The break has become synonymous with our sound because two tunes use it."
Fanu - Leave The Natural World Behind
"This shows the spectrum of the break - he's used the 'Too Dog Gone' break again. People say we only use the Amen break but there's only one Amen on there."
Chris Inperspective - Wed Eve
"It's got the breaks, it's rolling but you can mix it with Calibre," says Equinox. "I'm not a producer," states Chris.
Polska - Swept
"Mr Ireland! Polska's a badboy. He could do everything, he could go beyond drum & bass. His stuff is very epic.
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dev mintha kicsit husosabb lenne, mint korabbi kepeken - nagyon megy mostanaban a drumfunk szeker 
