Drum and Bass HQ is a series of Interviews & Mixes with the best in Jungle and Drum & Bass Artists, DJ's, Producers, MC's Promoters, Record Label Owners.

The Interviews with these "Drum and Bass Connections" are hosted by J Swif and will eventually form a book about the history and evolution of Jungle and Drum & Bass Music

-TAMUSIC- Try Arrange Music

Japanese Anime+Game Doujin Music / Produced By TAM(Violin player)

50,000,000 Video Hit + World Live + 160CD Release From JAPAN

Jeff Langton & Daniel Sparham grew up in the drum and bass hotbed of Hornchurch, Essex, both attending secondary school with future “DnB” star, Shimon. Just a few short years later, Shimon was starting to make waves with his tunes on Andy C’s Ram Records. After going out to raves together and seeing the success of their Hornchurch mate in the mid-90s drum and bass scene, the two friends were quickly drawn in, and linked to form what would later become one of the most successful duos the scene, Moving Fusion. 

By 1996 they had gone out and bought an Atari computer, Akai sampler and speakers and started to slowly learn their craft. After a year or two in the studio they came up with, ‘Turbulence’, which Andy C and Ant Miles quickly picked up on. Originally slated to come out on Liftin’ Spirit, once Andy C started playing it out and seeing the immense crowd reaction it was getting, it was decided to come out on Ram Records, later being released as a sampler to the Origin Unknown ‘Sound In Motion’ LP in 1998. 

After touring the world extensively off the back of the success of ‘Turbulence’, the pair felt a sense of pressure to follow up with something of equal significance. A short break ensued and Moving Fusion got back into the studio to produce 1999s ‘The Beginning EP’, which included the massive title track, ‘The Beginning’, alongside the huge hits ‘Brain Storm’, ‘Combat’ and ‘Sex Drive’. In 2000 they had yet another huge EP with, ‘The Atlantis EP’ which preceded 2001s ‘Atlantis Remix’ by then-super group Bad Company. The remix became yet another all-time classic, still receiving plays to this very day. Shortly after ‘Atlantis Remix’ came Moving Fusion’s best selling single, the huge hit, ‘Thunderball’ / ‘Lazy Bones’. The single would be a precursor for what was next to come, and ultimately be Moving Fusion’s biggest project to date. 

It wasn’t until Dan and Jeff moved into a studio in White Chapel, away from their traditional home studio that an album began to take shape. With 24 hour access to the studio, no noise restrictions, and studio neighbours that included Shy FX, Blame and Master Steps, there was a confident vibe in the air. Six months later with much of the album completed and DJ work rolling in fast and furious, they put the final touches on their debut album, 2002s, ‘The Start of Something’. With colossal tunes such as ‘Guy Fawkes’, ‘Star Sign’, and ‘Back to the Future’ all receiving huge DJ support worldwide, as well as ‘Chilli Pepper’, with its flamenco influences cracking daytime radio, ‘The Start of Something’ was an unmitigated success. 

After almost ten years of making tunes and touring the world together as Moving Fusion, the duo made the decision to part ways in 2005 to explore their own musical tastes as solo artists. 

In more recent years, Jeff has been teaching music production at college, while still finding time to collaborate with Shimon & Ant Miles on ‘Pimp Slap’ and ‘Underbelly’, released on AudioPorn Records, as well as the huge single ‘Hysteria’ and ‘Cyborg’, released on Liftin’ Spirit in 2009. Sparfunk and Shimon also reunited for ‘The Smoker’, a #1 hit on Beatport and one of the biggest bangers to hit dance-floors in 2008, as well as a return to Ram with ‘Crash Dummy’ being featured on Andy C’s ‘Nightlife 5’ album. 

As of 2011, the dust has settled and Jeff and Dan have now made a long awaited return to the studio, finally reforming the original Moving Fusion. Futurebound’s Viper Recordings was quick to sign the duos first collaboration in over six years, ‘Black Belt’, a classic Moving Fusion style track, set to feature on Matrix & Futurebound’s ‘Worldwide 001’ LP. The duo are also working on a forthcoming single set to drop on Viper in the near future, proving the duo are back in form without missing a beat. It’s set to be an enormous year for Moving Fusion as they look to reclaim their throne atop the drum and bass world, so don’t blink an eye!

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Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

Obsidia
Dubstep/Hardwave/Bass Producer from the UK.

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➤ Download 'A Decade Of Obsidia' 83 Tracks 2010-2019
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