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The notion of creative burnout and a sense of no longer knowing your place in an ever-shifting musical landscape after being aligned so closely to any one particular style must be a slightly daunting feeling for producers today. This makes Dominic Stanton’s abrupt decision to retire immediately from the music industry in 2009 quite compelling reading.
By 1984, a distinct “garage” sound was beginning to take shape in New York. Based around the dubbed-out, synth-heavy remixes of legendary Paradise Garage resident Larry Levan - particularly his reverb and delay-laden 1983 rubs of acts such as Imagination, Jeffrey Osbourne and Gwen Guthrie – the sound was slowly inching further away from straight-up disco and boogie and further towards what would later, in the hands of Tony Humphries and others, become garage (or, as it was known in the early years, “garage house”).
Released in 1994, Dark Energy sees the UR label at a crossroads. Following in the wake of the white knuckle intensity of the collective’s Acid Rain, Suburban Knight’s eerie Nocturbulous Behaviour and the otherworldly jazz of Galaxy 2 Galaxy, it paved the way for many of the keynote releases on the label as the 90s progressed, including Electronic Warfare, Aztlan and The Turning Point. Remaining true to their love of grandiose statements, UR said about Dark Energy that it is “the first in a series of sonic strikes engineered by UR to be carried out during the winter equinox of star year 1994-1995, against programmer strongholds”.
The release of The Saturiun System proves that timing is everything. It was the first record by the mysterious Lost Trax and one of the last releases on Carl ‘Silicon Scally’ Finlow’s SCSI-AV label. The release came at the tail end of electroclash, a fashion-based, vacuous sound that SCSI-AV, Finlow and the producer of the Lost Trax records provided a musical alternative to.
By 2001, Dave Jones had grown tired of being Zed Bias. Following the runaway success of his rambunctious 1999 UKG anthem “Neighbourhood”, he was being hailed as some kind of saviour for two-step garage. Given that UK garage had largely fallen out of favour with clubbers and DJs, bar certain London venues and the odd oupost in northern England, he felt like he was going backwards, fast.