1. What first got you into atmospheric drum & bass? Consider drawing on where you were, the time of your life, what was it that really pulled you in?

ASC

I was into hardcore/rave scene in the early 90's and followed it through to jungle. It was always the tracks that had the more atmospheric elements that drew me in, especially the tracks that could evoke an emotional reaction and make you feel something special. When jungle happened, I'd find myself gravitating more towards what DJ's like Bukem and Peshay were playing, then obsessively searching for track listings from tape packs and magazines, but it was upon hearing Omni Trio's Rollin' Heights Vol. 4 that made me truly realise I'd found what I'd been searching for all along - atmospheric soundscapes and broken beats.

Aural Imbalance

Really from the beginning, I was into the rave scene from the end of the 80’s into the 90’s and like a lot of people got drawn in by the culture and change of atmosphere from what was a gloomy period in time in Britain. I always liked the variety of music at that time and how it could traverse different genres and styles all in one evening. Once I started hearing breaks being used in these tracks and seeing the transformation into the early Jungle / Jungle techno scene like a lot of brits at the time it felt like this was going to be the sound of the uk at the time. Once the more atmospheric side started to happen I was hooked, I just loved the something for your mind and your feet approach to this music, it resonated so much for me personally so much so that I had to start trying to make it, I needed a lot of help and probably still do.

Chronicle

When I was a youngster the closest I could get to raving was playing laser tag. In 1992 I heard Liquid - Liquid is Liquid (Remix) at Cambridge Laser Quest, and it absolutely blew my mind! I loved how the track used a cohesive palette of futuristic sounds to create an atmospheric vibe, and it had more emotional complexity than I’d heard in electronic music up to that point.

Eusebeia

I can't specify when I got into atmospheric drum & bass exactly, but when I first properly started listening to the music in general in the mid 00's I was hearing the full spectrum. Certain tracks like First Contact by Omni Trio and Orbit by ASC were among the more atmospheric ones which always stood out to me. These two tracks are good examples of post 2000 tracks that are quality, and the thing that drew me into the more atmospheric stuff was the depth, musicality and more emotional aspects, and also how time and space is used more considerably/carefully.

Ghosts of MIDI

I started off listening to rave music in the late 80’s and progressed to the hardcore scene and then Jungle. When that fragmented into atmos I was instantly hooked by the futuristic sounds and emotional melodies.

JLM Productions

I was a drummer in my early teens and from there, developed an interest in drum machines and sampling. Early jungle and drum & bass was appealing in that there was a vast, fresh sonic palette to explore. Genre boundaries were still developing in the early 90’s, and it was exciting to directly experience the growth of a new branch of electronic music.

KMC

Growing up I was drawn to music with synths and ambient pads etc...music of the future. The evolution of Breakbeat into D&B and then the splinter off into the deep atmospheric genre had my full attention, Bukem's first Essential mix confirmed how well this combination had matured and it's potential, that radio broadcast was life changing. I miss the magic of those days and not knowing where the tracks came from, it added to the mystery, the polar opposite of current times.

Law

It was when I first heard Planetary Funk Alert by Seba in 2000. I got into D&B at school the year before and quickly got into the dark sounds of Bad Company, Ed Rush & Optical; Ram Trilogy etc. I mainly listened to tape packs and pirate radio. One day, a friend of my mate's dad (of all people) played us Planetary Funk Alert and it completely changed what I thought D&B was supposed to be. I'd never really heard anything like it. It started an obsession and has influenced my taste in music ever since.

Probe-One

Mark and I grew up in South London so were immersed in the rave sound of the late eighties and early nineties. We would both tune into pirate stations that were playing the music to hear the latest tracks and I would go to Soho in London and spend time crawling the record shops to find the tunes we had heard. The real turning point for both us was when we first heard LTJ Bukem's Promised Land Vol 1 compilation. Every track in that mix was mesmerising and so was the superb mixing along with the vocal talents of MC Conrad. Bukem's Logical Progression soon followed along with his Mixmag CD, which we both played to death. That's when we both knew this was the sound we had been looking for.

Reviver

I first came across Logical Progression online when I was still a kid. My initial impression of Jungle / Drum & Bass was largely shaped by “Demons Theme” by LTJ Bukem and “The Western Tune” by PFM. Even though I was more into Hip Hop at the time, the beautiful atmospheres combined with fast breakbeats completely drew me in.

Senses

I started djing in 91 and always loved playing music with break beats which was an oddity in the Scottish rave scene at the time. I heard LTJ Bukem play at a phantasia and got hooked on his sound. Eventually I was a partner in a record shop in Edinburgh and Bukem used to pop in whenever he was up in Scotland. I managed to play the Logical Progression tour. It's just always been my sound.

tdel

I was born in 1986, so the D&B zeitgeist had largely moved on to other styles by the time I was discovering electronic music in the early 2000s. My hooks at the time were more the Detroit-leaning sounds of techno and electro, but there were a couple of seminal introductions to the atmospheric sound which stuck with me: one was the Shogun remix of Ken Ishii's "Stretch" which was featured in a DJ mix I used to listen to constantly; another was "Foregone Destruction" on the Unreal Tournament '99 soundtrack which, as an obsessed PC gamer kid, was imprinted on my brain for many, many hours on repeat. I think both of those tracks became deeply-rooted seeds which were ready to sprout when Spatial came around some 20 years later. I had been following ASC's music for a while circa 2021-2022 — mainly the techno and ambient stuff, which aligned with my own long standing artistic interests. But at that time I felt increasingly as though I had run my personal course with those styles. My life was generally evolving and I found myself, for a variety of reasons, looking for a different direction. Those two ASC Atmoteka mixes and the first couple of Spatial releases landed at exactly the right time to yank me down the atmospheric D&B rabbit hole. The synth-driven atmospherics, contrasted with heavy-yet-intricate beats and nuanced arrangements, capture a certain vibe that ties back to the reasons I fell in love with electronic music in the first place. In my own personal lexicon this is music made for interstellar space travel, which is what I'd much prefer to be doing versus kicking around on Earth during such "interesting" times (hah).

2. Where are you from, country, city, town, etc - and did this help influence your journey towards this music, or were you an outlier among peers?

ASC

I was born in Wolverhampton, but my parents moved to Croydon, London at a very early age. We then ended up in West Yorkshire, as my dad got a job in Leeds, so we ended up relocating once again, and I spent my teenage years around this area. Fortunately, you didn't have to look very far for underground music in most places in the UK in the early 90's, so me and a few mates would tune in to local pirate radio stations and tape shows of DJ's playing hardcore/rave/breakbeat stuff around 1992-1994. Someone at school told us that a station in the area was looking for DJ's, so me and my good friend Chris decided we'd apply to be DJ's, which in hindsight was hilarious, as neither of us knew the basics of mixing, and had about 50 records between us. It didn't stop us though, and we were lucky enough to get a spot on the station. This was a massive influence for us both, just to be around other DJ's, and playing the music we loved to an eager audience.

Aural Imbalance

I live in torbay in Devon, as mentioned above there was a really strong scene in the area and there as always something going on, there was a good reception to the atmospheric scene locally albeit a more focused one in terms of people but it grew and a couple of lovely chaps Chris and Ste setup Cadence recordings as a result of also falling in love with the music.

Chronicle

I’m from Essex in South East England, and I was very lucky because I went to high school with a couple of other guys who made dance music with trackers. This was crucial for me, if I hadn’t had that community at the start I would have had a lot of difficulty progressing.

Eusebeia

I live in England, close to Bath and Bristol which definitely played a part in getting into the music. The first record shop (Drop Records) I bought records from was in Bath. Even the town and surrounding areas where I live played a part regardless of my own personal interests. I've probably always been an outlier, but there have been times where there's been a few friends/acquaintances who have been into the same music, although as I went further into more of what I like the fact of being more of an outlier became more apparent.

Ghosts of MIDI

I’m from the UK, I live in a village in the Cotswolds close to the small town where I grew up. No one was into the same music back then so when I finally started writing I had to teach myself how to make music and use the equipment as there was no one to bounce off. In the late 90’s I was introduced to Al Risky, Ian Shufflin and Bry Watson through my friend Yoshi. They were heavily into Atmos and were playing on a local pirate so we instantly clicked and are still friends today.

JLM Productions

I grew up in the Philadelphia region. Philly has a deep, musical history that includes incredible radio stations. From a very early age, I was exposed to R&B, rock, folk, classical and jazz, and eventually electronic music, all because of Philly’s support for public and college radio. I don’t think my path to a career in music would have happened without those early seeds being planted.

KMC

I grew up in Hamilton on the outskirts of Glasgow (where I now live) and typically for Scotland there wasn't a bass cultured music scene. Luckily nearby Strathclyde Park became a rave/festival hot spot, firstly for Slam and then T in the park, I DJ'd there in the dance tent summer of 96 along with Goldie and Bukem, I remember playing Adam F's "Metropolis" which I received a few days earlier on test press, you could see the housing estate where we listened to that essential mix live a year earlier from backstage, my home, a surreal moment. I had a record shop in Edinburgh called Drastik Plastik first half of the 90's which specialised in Breakbeat then D&B, as a business enterprise in Scotland that was suicide, making money was never the motivatiion though and the next step confirmed this, the shop was sold and along with financial help via my brother Alex selling his beloved Escort RS Turbo a home studio was set up. Playing and selling other peoples music wasn't enough anymore, I had my own ideas.

Law

I grew up in Hertford, Hertfordshire. And it absolutely shaped my musical journey. A lot of kids at my school listened to jungle, D&B and garage. Everyone on the local estate did. It was easy to get into. I then realised what a rich history Hertfordshire had in rave, jungle and D&B. Moving Shadow was formed in my hometown. As were 2 Bad Mice. Timeless was made in Stevenage. Omni Trio ran my local record store (Parliament). Nookie had a shop in Hitchin. Good Looking was based in Watford. It was quite surreal to find out all this long after it all happened.

Probe-One

As mentioned, we are originally from South London, growing up in the nineties so were listening to the music progress from its beginnings into the goldern era of the mid to late nineties.

Reviver

I am from Shanghai, China. I discovered music almost entirely online, so while I love my city, it hasn’t really influenced my musical taste.

Senses

I grew up in Scotland. There was actually an anti-breakbeat movement amongst some of the radio djs in the early 90s. So I was battling against that - it was very much more of a hardcore vibe in most clubs so I managed to clear a few dancefloors before I started to build a following.

tdel

Atlanta, USA. While by no means a bastion city for underground electronic music, there was a decent enough house/techno/trance scene here in the 90s and 00s to give me some exposure. But it was really through internet forums and IRC chats that I was able to find music and peers I truly connected with. I traded digital music with internet friends the way I might have traded tapes with friends in meatspace had I been born a decade or so earlier. Actually, it's much the same now as it was back then!

3. What is your favourite break and why? Favourite classic track(s) that use that break?

ASC

It's hard to pin down a favourite, as that can change very often, depending on a specific track I'm writing and how I might be editing said break. However, if I was pushed to narrow it down to one, it would have to be the amen. No other break is synonymous with jungle as the classic Winstons break. Picking a favourite track that uses it might be even harder than picking the break though! A few that come to mind immediately are Source Direct - Secret Liaisons, Essence Of Aura - So This Is Love, and DJ Crystl - Warpdrive.

Aural Imbalance

That is quite a hard question to answer as I kind of love them all for different reasons. So my answer is…… All of them even the ones I have not heard yet.

Chronicle

It’s got to be Bobby Byrd - Hot Pants for me, it’s very light yet energetic. It doesn’t have a lot of room sound, so big, full elements like pads have room to breathe and everything can sit nicely together. bIt’s not all cookies and cream though, it does have some harsh frequencies in the shaker and snare... you have to treat it with respect! Funky Technicians - Airtight. JMJ & Ritchie - Montana. Blu Mar Ten - B.R.O.

Eusebeia

Impossible question to answer, every break has a unique quality - any and all breaks have the potential to be used brilliantly.

Ghosts of MIDI

The Boymerang Break. It’s sort of an amalgam of various breaks but you could argue it’s become a break in its own right. Surprisingly not many tracks have used it.

JLM Productions

I don’t really have a favorite break, some work better than others!

KMC

The Greyboy Allstars "Miss Riverside". Used by Bukem on the unreleased "It's a dream" track, not at the BPM of the YouTube video though.

Law

Hard not to say amen, isn't it? Probably the think break. It is also incredibly versatile. It has several different points in the original track you can sample from. The shakers, big kick, the vocal ticks, snappy snare. It's too good.

Probe-One

Mark and I are clear lovers of the Amen as we made a number of tracks using that break. It feels like it's the purest form of the music. It has loads of energy and rhythmically fits with the style we like. Obviously, the track that is the best example is Source Direct - Secret Liaison or anything they did using that break. The list goes on.. there are so many..

Reviver

Think break. I was mesmerized by the ‘high-pitched adlib’ in this breakbeat, and it took me a long time to figure out how it was made before I became a producer. My favorite tracks that use this break are ‘Octagon’ by T.Power, ‘The Western Tune’ by PFM, ‘Virtual Prayer’ by B.L.I.M., and ‘Time Clash’ by Cleanhead.

Senses

too many good breaks. Plus it all depends on how the break is flexed. There is way too much music I love to say my favourite track!

tdel

It'd be too easy to default to Amen, so I'll go with Think because it's so versatile and layers so well. Funky Mule would be a close second. Photek - Complex features all 3 of these, so I guess that'd have to be my classic pick!

4. What releases over the years (not limited to drum & bass) have meant the most to you, and influenced you on your music journey that eventually brought you here, and why?

ASC

808 State's 'ex:el' was a seminal release that I have listened to countless times since the day it came out. Graham Massey from the group said once in an interview how music should be interesting and introduce something new every 16 bars or so. This was something that stuck with me and influenced how I approach music and structure. I must have studied 'ex:el' inside-out, and it came out at a time that shaped my musical path and led me eventually to jungle.

Aural Imbalance

So there are a couple of mentions here for me personally, Critical Beatdown by Ultra Magnetics MC’s is special, the breaks were amazing and it felt powerful at the time when it came out. I would also cite Carbon Based Lifeforms (all of their releases) as a real inspiration, sonically their stuff just really hits the spot and the flow of the music just works for me. In terms of D&B PFM were my absolute favourite back in the 90’s, everything they made had a touch of class. Really loved everything that they made and the consistency level was top notch.

Chronicle

Omni Trio - Volume 3 is important to me because like Liquid is Liquid it’s a really dramatic statement about what drum ‘n’ bass is capable of. Emotion-wise it’s rich and mysterious, for me it has a sense of “otherness” akin to the Balardian alienation of early 80s synthpop. Global Communication - 76:14 is a big influence on me musically, and its ambient tones have helped me through some stressful times in my life! All the sounds were created on what today might be considered primitive kit, but they’re incredible and still sound fresh and exciting. I heard LTJ Bukem play Aquasky - Kuana on a radio show in 1995, and this was the moment that I realised that atmospheric drum ‘n’ bass was not only becoming its own genre, but that its potential was incredible. Hearing it for the first time was transcendent.

Eusebeia

DJ Crystl - Warpdrive/Meditation was an important record for me with getting into the music to begin with. The entire Boards of Canada discography, but initially Geogaddi and Music Has The Right To Children. Mezzanine by Massive Attack for it's tone/mood and sonic world - one of my favourite albums ever. I first remember hearing it in full on a trip to France in '98 by car and boat at night and early morning and it seemed to lend itself to that journey - it was so immersive and had a huge impact on my 6 year old self.

Ghosts of MIDI

I am a huge fan of deep emotional music with a female vocal sample in. Lot’s on early rave music Like Bassomatic - Fascinating Rhythm, Krush – House Arrest, FSOL – Papua New Guinea and N-Joi – Anthem all had these elements and have influenced my music massively.

JLM Productions

808 State was, and remains a foundational influence. Altern8’s “Evapor8” was an important early influence as well.

KMC

Away from D&B and early on R&S records were a huge influence, Joey Beltram, CJ Boland, Robert Leiner, Kenny Larkin, Aphex Twin. I know some of it was licensed from other imprints but the vision Renaat had with the artwork etc...how could you look at those sleeve's and not be reeled in, genius. The Orb's "Adventures beyond the ultraworld" with it's cues from rave culture mixed with ambient, The Future Sound of London's "ISDN" and "Lifeforms" were sonic landscapes way ahead of the curve, masters of the sampler and studio production, Photek's "Rings around Saturn" signalled a new direction and early releases on Blames 720 degrees label again showed so much potential. Vangelis's "Bladerunner" soundtrack deserves a special mention, the influence it's had on the whole electronic music scene is huge.

Law

Any release where I have worked with or remixed an artist I really respect or grew up listening to. Remixing Foul Play for Over/Shadow and Omni Trio (as Splice) were big highlights. My first full solo EP on Repertoire called "The Holographic Principle" was a major milestone for me in a production sense. Having music signed by ASC, whose music I have been playing since the early 2000s, was a big deal for me — a producer I love not just for his D&B work, but his production in general.

Probe-One

A major influence for both us has to be The Orb - Adventures beyond the Ultraworld and before that Pink Floyd. They were very experimental with ambient soundscapes.. using bird song or children laughing.. Creating huge epic soundscapes. The Orb which used breakbeats and dub bass in their music really were a huge influence.

Reviver

H2000: Una odisea en el surco by Hippaly. It is a rather niche Spanish Instrumental Hip Hop release, but it’s a hidden gem. What makes this album special is its approach to composition—built on various loops, yet constantly evolving and transforming as it progresses. It marks an important shift from “Hip Hop beats” towards ‘Instrumental Hip Hop.’ I wrote a bilingual (Chinese–English) review for the album, and its creative philosophy has since become a key standard in my own music production.

Senses

at les by Carl Craig. Calling 610 by Chris brann. Expansions lonnie Liston smith. Music by ltj Bukem. Drift to the centre photek

tdel

Probably way too many to list, but I'll go with the first handful springing to mind:

- Spatial 001 and 002 were a seismic shift when I first heard them, and I've been hooked ever since.
- Convextion - Convextion and all the E.R.P. EPs: seminal releases which have informed a lot of my own artistic decisions. Deeply atmospheric science fiction music, rhythmic and driving and often melancholy at the same time (a description I'd also use to describe my favorite atmospheric D&B).
- All the Nuron/Fugue EPs on Likemind: similar to above; some of my favorite music ever. Still sounds futuristic 30 years later.
- The Detroit Escalator Company ‎– Soundtrack [313]: a criminally underrated album of lush atmospheric digital synths
- John Beltran – Ten Days Of Blue: ditto above.
- FSOL - Lifeforms: a deeply liminal masterpiece, not to mention a gold standard for sampling as an art form.
- Yasunori Mitsuda's Chrono Cross OST: formative for me at an influential age, really driving home the idea of music being a vehicle for narrative and setting.

5. Which artist or band outside of drum & bass are you listening to on that rainy train ride home?

ASC

I hardly listen to any electronic music other than what I do for Spatial and other labels I'm involved in, and find myself gravitating toward singer/songwriter guitar based stuff, like shoegaze, folk, indie, rock, etc. Some of my favourite artists/groups are Slowdive, The Verve, Beach House, Daughter, Sea Oleena, deary, Clinic Stars, The Smiths, Emma Ruth Rundle, Pink Floyd, Joy Division, No Joy, The Daysleepers, to name but a few.

Aural Imbalance

A personal favourite band for me would be Cloth, I really like their approach to making music and all of their stuff really resonates with me personally.

Chronicle

Rainy train rides are the perfect DnB-listening situation for me, however if I was feeling depressed I might put on some Fleeting Joys. Fat Joe might also get a look in?

Eusebeia

Burial or Dead Can Dance

Ghosts of MIDI

Surprisingly I don’t listen to that much atmos. As I am always in my studio making atmos I tend to listen to other music. It gives me inspiration and I ideas around different production techniques and sound palettes. I love listening to Bonobo, Simon is a genius. Cinematic Orchestra, Sasha, Scrimshire, I love organic house, brokenbeat and electronica. I always tune in to the Spatial Shows though.

JLM Productions

Depeche Mode forever!

KMC

I like some of Radiohead's stuff if I had to pick a band, also Disco and Funk which is less reliant on what mood your in but mostly new electronic releases on shuffle to educate myself.

Law

Aside from the obvious stuff like Aphex Twin or Boards of Canada, right now I'm into a lot of ambient, drone, and jazz music. A few names: Terekke, Nala Sinephro, Biosphere, Alaskan Tapes, Halftribe. I've also been discovering a lot of deep techno too - Deepchord would certainly fit the mood.

Probe-One

I have always been into dance music in its various forms. Mark like loads of different stuff such as Radiohead, Alice in Chains, Pink Floyd, Smashing Pumpkins, Boards of Canada, Coctau Twins.. 80's pop music..

Reviver

Black Swan, zakè, bvdub, & Alva Noto.

tdel

cv313 (or any other project alias of Stephen Hitchell)

6. Name your top 5 atmospheric drum & bass tracks! Any label, harking back to the mid 90's right up to present day, with any additional info on why you love them.

ASC

Omni Trio - Rollin' Heights. Odyssey - Expressions. Essence Of Aura - So This Is Love. Future Bound - Sorrow. DJ Crystl - Warpdrive.
This is subject to change probably every week, but I'd probably have these in an all time top 10 at the least.

Aural Imbalance

I am really crap with names and I can’t even remember my own track names (James will confirm this is true) so this is a testing one for me. But here goes (I will forget some for sure and be like why didn’t I mention that ha ha) and this is a springs to mind list and only really includes older tracks.

1 - Seba and Lotek - So Long
2 - Saint Etienne - The Sea (PFM Mix)
3 - Goldie - Inner City Life
4 - LTJ Bukem - Horizons
5 - PHD - Beneath the Surface

I would also be remiss of me not to say that (and I know I shouldn’t) but ASC - Aural Imbalance - ‘Sunset on Mars’ is a really lovely one which I really enjoy listening back to from time to time.

What I would say is that I love everything that is coming out on Spatial and Curvature even if I am not supposed to say that its just ace hearing what everyone is coming up with, much love S & C crew.

Chronicle

Aquasky - Kuana [Moving Shadow]
Super evocative, emotionally dynamic, and rhythmically interesting, I’m pretty sure hearing this track changed how my brain worked

Essence of Aura - So This is Love [Moving Shadow]
This track segues between emotions and energy levels with an organic finesse. The beats are brutal but the emotive atmospherics make them go down smooth.

PFM - Danny’s Song [Good Looking]
Absolutely wicked sampling work here: the beats, vocals, and melody all sit so well with the soaring atmospheric pads and effects, hearing this was another jaw-dropper.

KMC - Alpha Centauri [720]
Despite being almost entirely synthesised, this tune is packed with living, breathing emotion. The drums are a far cry from the original breakbeat roots of DnB, instead creating exciting new rhythms and textures.

ASC - Cyclic Nature [Spatial]
Trancey, rich and uncanny, this track represents what I love about Spatial. Sick beats and bass, plus psychedelic, mind-expanding sounds that deepen the mystery of DnB.

Eusebeia

These are just 5 tracks out of many...

LTJ Bukem - Demons Theme (Good Looking Records)
Beautiful intro which initially captivated me followed by a great Amen rollout. It's merges the emerging atmospheric sound with the pre existing ravey stuff really well.

DJ Crystl - Meditation (Deejay Recordings)
This track had a massive impact on me when I first heard it, if I remember correctly I had bought the record specifically for Warpdrive, but then after listening to the flip Meditation quickly became another favourite. The structure of it is akin to Demons Theme in that it has a gorgeous intro with serene musical elements followed by another great Amen rollout.

Skanna - This Way (Skanna)
This one is special for me as it feels like it was a precursor to what was to come in drum & bass - it's moodier and is another stepping stone in the evolution of the music. I love everything about it and find myself thinking about how it would have been to hear these tracks on pirate radio or at an event when they were first released. Omni Trio - First Contact (Moving Shadow)
A classic track from the turn of the new millennium - I love a lot of Omni Trio's music and his work definitely played a strong part in drawing me in.

ASC - Orbit (Red Mist Recordings)
This was the first 12" I got from ASC - I don't remember where I got it exactly but Orbit stood out to me, again with a beautiful spacious and atmospheric intro before a more straight forward but great amen rollout and lovely musicality and melodies throughout.

Ghosts of MIDI

That’s a really hard one!

Requiem – Synaesthesis
I’m going to cheat and say Futurebound – Blue Mist & The Ephemasis & Sorrow
Future Engineers – Eden
Artemis – Elysian Fields
Future Engineers – Re Source

There’s so many amazing atmos tracks but those 5 are extra special. I was instantly hooked when the really tekkie sound of Future Engineers, Blame and KMC emerged too. Eden is especially important as it came out at a time when atmos had almost vanished in favour of liquid and is what got me back into writing again.

JLM Productions

Internal Affairs - Hands to Heaven
4 Hero - Students Of The Future (Rufige Kru Remix)
Doc Scott - Far Away
Foul Play Vol 3 - Open Your Mind (remixes)
Digital - Touch Me (Original 94 Mix)

KMC

In no particular order...

J Majik "Melancholy" Classically simple old school roller
P.B.K. "Marslayers" Deep track with a solid electronic break
Banaczech "Deceptive Emotion" They had a unique sound, a few tracks in one this
Future Engineers "Counterbalance" Captures the time perfectly
Natural Forces "Alone" Orbital EP should have been a Metalheadz release IMO, production top class.

Law

This is too hard. So the first that come to mind...

LTJ Bukem - Music -my favourite Bukem tune. I never tire of it. I love those dark pads that come in right in the final third too. People often mix out before those hit!
Source Direct - Secret Liaison - Just because I have to say it
Seba - Planetary Funk Alert - for reasons I mentioned earlier
Seba & Paradox - Back From Eternity
DJ Crystl - Warp Drive - I could have picked loads of tunes from that era! I love that still slightly dark, ethereal vibe you get from a lot of 1993 tunes. It wasn't quite hardcore, it wasn't quite jungle. It was something in-between.

Probe-One

(1) Secret Liaison - Source Direct - Good Looking
An absolute masterpiece - once we heard it we never listened to Jungle in the same way. It still sounds fresh today and it's 30 years old. Wonderful track.

(2) Aromatherapy - Adam F - Section 5
The way it builds - the breaks and that amazing jungle b line..

(3) Images - Future Engineers - Ascendant Grooves
Huge tune - massive atmospheric presence with an excellent b-line and amen combo.. Inspiring stuff..

(4) Music - LTJ Bukem - Good Looking
This came out in 1993 and was Bukem trying to move the music forward. It has a complicated structure and has a beginning and an end. This was the first tune that really showed you the genre could be more than it was at the time. Masterpiece..

(5) Inertia - Moul'y & Lucida - Timeless Recordings
This record is so wonderful to listen to. It's so deep with that awesome vocal from Mary J Blige and that classic snappy break beat and deep b line. Just sucks you in.. Absolute gem..

Reviver

’Ephemeris’ by Future Bound: Such an ethereal tune! This track showcases the charm of guitar and piano colliding, intertwining, and ultimately merging into one. It was one of the tracks I played the most when I first got into Atmospheric Drum & Bass. There was something magnetic in its atmosphere—both delicate and expansive—that made it impossible to tire of. Even now, it feels untouched by time.

‘Together’ by Shogun: This is the track that made me decide to produce Atmospheric Drum & Bass. Through its flowing textures and evolving harmonic movement, I came to truly appreciate the intricate beauty of arpeggios. Each pattern feels alive, unfolding like light rippling through mist, gradually revealing emotion hidden within repetition.

‘Demon Seed’ by Exocet: This track carries a distinct atmosphere compared to most other Atmospheric DnB pieces. Its synth melodies unfold in delicate layers, constantly evolving and intertwining, each new element adding depth and motion. As the progression develops, these textures gradually intensify, guiding the listener through a fluid, immersive journey that ultimately swells into a powerful and satisfying climax.

‘Sunless Sky’ by ASC: One of the first tracks that introduced me to the world of Spatial. In this track, James demonstrates how a proper, driving bassline can coexist with the energy of the Hot Pants break’s low end. A masterclass in contrast, delivering a fiercely aggressive energy that somehow never loses its profound sense of beauty.

‘Moment of Truth’ by ASC: It is supposed to be a track more on the dark side since it is released on Samurai Music. The raw, percussive power of the Amen Break cuts through a shroud of dark, melancholic textures, creating a symbiotic tension. This interplay doesn't just set a mood; it constructs a deep, immersive noir soundscape that pulls the listener into its shadowy depths.

Senses

this is just not possible I could literally do a top 5 from every year not all time.

tdel

1. Tie between ASC - Force Majeure and Aural Imbalance - Particle Force. Two of the early Spatial cuts which really forced me to pay attention and still immediately transport me into a different dimension every time I play them. Cosmic stuff.

2. Ken Ishii - Stretch (Shogun remix). One of my original introductions to the atmospheric sound, and probably as close to a perfect blueprint track as you can get.

3. Odyssey - Expressions. Hypnotic perfection, somehow intricate and deceptively simple at the same time.

4. ASC - Waveform 11. Raw fucking emotion in this track. Hits like a freight train.

5. Source Direct - Secret Liaison. What can I say, I'm a sucker for Amens and choir pads.

7. When did you first start working with ASC and what drew you to work with the Spatial project?

Aural Imbalance

I was chatting with James right at the start of Spatial when he was toying with the idea, I had already been writing atmospheric d&b stuff but at slightly higher tempos so he was saying about the 160 vibe and I was like well yeah that’s is what it should be really for the style so it was a instant yes from me.

Chronicle

I was on the Forwardbound mailing list with ASC back in the day, and I was excited to see that he was bringing the atmospheric vibes back. I emailed him because I heard him play a new KMC tune on a Spatial show, and I sent him some 174 BPM liquid DnB releases I’d done. He suggested I try something slow and more breakbeat-focused, and amazingly it worked out!

Eusebeia

James first reached out to me to do an EP for Spatial which I was really glad about. I think I had shared some music some years before, and then more recently released music on Samurai and Mindgames which may have resulted in James getting in contact to do an EP for spatial. I knew exactly the kind of thing that was expected and what I would like to put forward, so being given the opportunity to do so didn't require any further thought.

Ghosts of MIDI

I first contacted James back in the Myspace days asking him to check out a demo of mine. It wasn’t until lockdown many years later that we reconnected and set up a message group between a few old friends and he put a couple of demo tracks in for us to listen to before Spatial existed and we instantly loved them.

JLM Productions

My first release on Spatial was in the fall of 2023. Spatial’s curation and attention to the quality of each release were important factors in deciding to relaunch the JLM Productions project.

KMC

I Haven't worked with James and missed much of his earlier D&B releases, I'd withdrawn from the scene being disillusioned with its direction after the peak of the late 90's. I got to know his material via the Loxy CX mixes etc...the Autonomic days, that along with the Russian/Eastern European stuff got me interested again. I'm a fan of his ambient stuff. The Spatial project appeals on many levels but mainly the musical style and sensible approach to BPM.

Law

I chucked enough demos at him until he relented haha. As I said earlier, working with people who I respect and whose music has influenced me has always been the goal. ASC is doing something special with Spatial and the various sublabels. It's exciting and a privilege to be a small part of it.

Probe-One

We first met James back in the early 2000's when he was launching his Covert Operations label. He heard some of our early music and was really encouraging and supportive of our sound. We used to meet up at Technicality nights and built a great friendship. We had a couple of releases come out on the label and I also used to regularly play upstairs at Herbal alongside Cedar. They we really great times and we have remained friends ever since. James got in touch when he was launching Spatial and asked if we wanted to get some music released on the label. We eventually put together a couple of tracks but its difficult to find the time due to work and family commitments to create a regular output.

Reviver

Reviver - Optimal Lifeform, released on Curvature, a label by ASC and DJ Levi. This is my first ever physical release. For a long time, I believed no modern Atmospheric Drum&bass could quite capture the essence of 90s Atmospheric Drum & Bass again. But when I came across tracks like ‘Sunless Sky’, ‘Arcane’, and ‘Cassiopeia's Dream’—these Spatial tracks hit differently—they feel both reminiscent and forward-thinking, carrying that same depth while pushing it into a more expansive sonic dimension. So I decided no matter what I should be able to make this kind of music. Ever since ASC opened the Curvature demo channel on Auxiliary Discord, I’ve been improving my production skills. Even though the channel has since closed, my sights remain firmly set on joining the Spatial roster.

Senses

we were part of the early Inperspective records line up and legendary Technicality nights at Herbal in London.

tdel

Well aside from us both releasing music on Silent Season and periodically shooting the breeze online, this would be the first official time! As for wanting to work with Spatial, that's easy: it's the center point of the music I'm most inspired by these days, and has a lovely community of artists and fans to boot. I'm stoked to be a part of it in any capacity!

8. How did you find working with ASC - for example if you're "the old guard" there's a reason you came back to work with him again, or if you're relatively new to working with James, how do you find it? Did/do you get tips on your production techniques, share ideas, anything you can draw on, on why it's a good fit for you?

Aural Imbalance

He is a lovely and thoughtful chap (please send money for the compliments in the normal way James). Seriously though its really great talking with and working with James his depth of knowledge is superb and he has helped me in terms of production techniques and gear ideas, we do share a lot of little things between us which I think is really great, I think being open to new ideas and workflows is really important for growth. James and myself have an almost telepathic thought process when it comes to working on tracks together, I think we really gel on collaborative projects, we trust each other when it comes to this and he is very supportive, he is more than a producing colleague he is a friend.

Chronicle

As vital as I know it to be, I am not a massive fan of receiving criticism. Thankfully James just seems to let me just get on with it! One time he asked me to rework a track which was definitely the right thing to do, and he was tactful about it, so I couldn’t really ask for more.

Eusebeia

Working with James has been great, he's given good references or pointers when need be which has been helpful, and definitely been supportive and encouraging but also very clear about what he doesn't want or if something isn't a good fit, which hasn't been an issue for me - if anything it's helped me to focus more and push what I do further.

Ghosts of MIDI

James has been incredible supportive of what I’m doing. He constantly encourages me to finish tracks and get them out into the world. I’m honoured that there’s a home for my music finally and that James has believed in me.

JLM Productions

ASC has a very particular vision set out for the label that aligns with my desire to revisit the sounds of the “golden age” 90’s era of jungle/drum & bass, while not simply copying the past.

Law

Working with James is easy. He hasn't needed to get too technical or offer much feedback beyond some arrangement tips. He's let me just crack on with what I thought was the right sound for Spatial, and luckily it connected!

Probe-One

As mentioned, we are good friends from the early days so I guess that makes us one of the old guard 😄 As stated above, James has always been a big supporter of our music so it was only natural that we would work with him again if the opportunity arose.

Reviver

I happened to stream Decayed Society by ASC & Sam KDC when I was in high school. At the time, I thought he was a mad scientist putting out so many tracks in a short period of time. That's what I think now too! I think ASC sets an example of never being complacent. He also gave me suggestions on production direction in the e-mail, which has always motivated me to continuously improve my production.

Senses

I think we vibe to similar styles. He lets me express a side of my sound that I don't think I could otherwise

tdel

James has been incredibly supportive and has given me more than a few nudges in the right direction as I've jumped in head-first to making D&B — not the least of which was a suggestion to try Renoise, which immediately clicked and brought a lot of fresh fun into track writing process. His music has always resonated strongly with my tastes, so following his tips and feedback has always been a no-brainer. Big ups!

9. Can you tell us an interesting or fun fact about yourself? This could be anything!

ASC

I was planning on becoming a professional footballer, until I suffered a pretty horrific ankle break coming home from training one night. After the doctor told me I'd never be able to run properly again, I decided to focus all my efforts on music. It didn't stop me playing once I'd healed, but I'd often be in pain for a few days after a game, so it was the right move. Other than that, I hold Royal Yachting Association levels 1 through 5 in sailing. I haven't done it in a long time, but sailing was a big part of my teens. I also own shares in a Spanish football team :)

Aural Imbalance

No not really LOL

Chronicle

My first job was a video game reviewer, and I did this for a few years in the mid-late 90s before I began writing about music production. I’m still a massive fan of PlayStation 1 era racing games like the Wipeout and Rollcage series.

Ghosts of MIDI

I’m a fairly good wildlife photographer 😊

JLM Productions

I do not like mayonnaise or mustard.

KMC

Having a twin brother can be weird, random people asking how you are, tooting car horn and waving etc...Some must think "what's his problem, was talking to him a few weeks ago now he ignores me". Alex and I fall out for years at a time and on talking again find out we both bought the same car...in a different colour at least. I used to think my headstone would read "First person from Scotland to write and release a Drum & Bass track" now it's more likely to be "Put more TV's on the wall than anyone else in Scotland" as been running SystemHome a small AV business for 22 years.

Law

I started out in D&B as an aspiring MC. Luckily, I realised pretty quickly that DJing was the way to go. Some very dodgy tapes exist... that nobody will ever hear.

Probe-One

Hmm.. struggling with this one to be honest. My usual fun fact to tell people is that I make music 😄

Reviver

I have never been to a club.

Senses

I was born in Germany but speak French better than I speak German.

tdel

I'm a big fan of LSD (Long Sausage Dogs)

10. Finally, can you give me any handles for your socials you'd be OK with us sharing and tagging, e.g. Bluesky, Insta, TikTok, X - anything helps.

ASC

Instagram: ascaux

Aural Imbalance

I only really use instagram s.huxtablemusic

Chronicle

https://www.youtube.com/@TimCant https://www.instagram.com/tim_cant/

Eusebeia

Instagram: https://www.instagram.com/eusebeia__/ Soundcloud: https://soundcloud.com/eusebeia

Ghosts of MIDI

Instagram is dan_azimuth Soundcloud is soundcloud.com/atmospheals

JLM Productions

I can be found at https://www.jamiemyersonmusic.com https://www.patreon.com/jamiemyersonmusic https://www.instagram.com/jamiemyersonmusic

KMC

Sorry, don't do social.

Law

https://www.instagram.com/law_repertoire/ https://soundcloud.com/drumtrip

Probe-One

I have zero presence or interest in social media so can't help you with this one.

Reviver

IG: 2nbbd

Senses

djsenses on instagram don't do any others

tdel

@tdel00 on Insta, ‪@tdel.bsky.social on Bluesky (but I think I've posted there like once). I'm pretty lousy at keeping up with socials but am happy to be tagged on those and will do my best to boost the signal!