ILMiXor

ILM's 2005 collaborative mix project hoonja-doonja!

February 15, 2005

The House Crew, "The Theme"

It felt like the last great ardkore anthem for a long time after the event. By the Summer of '93 I'd become aware of the deepening rift that saw 140bpm breaks with plundered diva vocals fade out - a combination of an exciting idea running it's course naturally (for me at least) whilst failing to make a full impact beyond damp, moonlit fields and Fiesta carboots in enough sectors elsewhere. Hard to see why sometimes, given how well 'The Theme' is structured and delivered - hit sensibilities akin to hits like the housier 'Playing With Knives' or 'Insanity' to an extent, just as simplistic in premise but much heavier and more intense sonically with some dazzling sounds on display (the rumbling but tight break, the two-note throbbing bass, the foreboding choir, ominous clouds fragmented by Sabrina Johnston's grafted affirmation, just the sheer immenseness of it all...), thus destined to dent the top 100 but only just, despite some unexpected support from quarters ranging from daytime Kiss FM to MTV and even Channel 4's 'Big Breakfast' during their round-up of the week's best new singles. Damn nearly choked on my Shreddies so I did...

Producers Nino and Dice would go on to prove their hitmaking abilities in fine style with Baby D's 'Let Me Be Your Fantasy' eighteen months later, vindication of some sort. But I still feel that intuitive nous is also firmly evident in 'The Theme' , the chart in the other world inside my head declaring it top of the pops for a brief spell, only to be usurped by Therapy? (probably) a few weeks later, that being the sort of thing my music taste veered further towards in the ensuing twelve months before Jungle emerged from the swamp the scene descended into that year, to lure me back towards bass and breaks-driven mentalism once again. Of course my brother playing this what felt like every single day for about four years didn't really help either. Too much ecstasy, minus the drugs. But much of the music from this period in the scene's progression endures, and I'm happy to hear it again in a projected beam far removed from the original light but forever radiant now (now that I don't live with my brother at least). And if ever a rush were worthy of amber-encased preservation for all time I'll still go with this one (along with 'Euphoria (Nino's Dream)' of course).

Once more, for Nick.

   
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