Rico (Darkestral) Interview

Interview by Matt Comatose

Darkestral has been making serious waves since its first release in 2007, and has been a springboard for exciting talents Instra:mental. With the Instra:mental vs D Bridge 'Sepia Tones' EP dropping any time now, we caught up with label boss Rico to talk about Darkestral's sound and ethos...

What was your involvement within the scene in the 90s?

I have been involved behind the scenes as label manager at SRD distribution since the mid 90's, looking after a host of the biggest drum & bass labels, during which time I've seen many tide changes in the dominant sounds and sub genres that have grown up with the music's development.

There’s very little musically that I’m not prepared to soak up or listen to and there was never a strict allegiance to a particular genre until about '94/'95 when I became more and more affected by the jungle/drum and bass sound; making the standard move of going to the source was how I ended up relocating to SRD. The initial impact of mutated genre ideas in drum & bass was what drew me in, moth-like to its flame and its tempo, which seemed to describe the pace of life and echo the feeling of the times. Its rapid evolution and leaps in artistry and concepts were what pinned me to it, and it is that which keeps my love for it together today. Once in the blood, it doesn't dissipate. Now I aim to add my personal vision to the genre by way of giving something to the next generation to indulge in and be inspired by so that it may long continue.

How did starting Darkestral come about?

Darkestral came about after a long period of procrastination, deciding what I wanted it to be, what I thought its aim should be and the type of releases I wanted to hear that weren't being represented at the time. Having always had a deep rooted affection for the experimental period between '94 and '97, when the drum & bass scene threw up some of its (still) most musically creative ideas, such as the unchallenged 'Ni Ten Ichi Ryu' period in Photek's career, the consistently adventurous early Metalheadz releases, as well as Bukem's Good Looking related imprints through to No U Turn and Source Direct, I felt these were the standards to target. Darkestral is about taking chances and not being afraid to be both singular, emotional, purist and hopefully in time leave a legacy by way of a statement of longevity in an era of throwaway musical choices foisted on the public from mainstream to underground. Another important element of the project was to swing the texture of the sound back round to analogue tones and try to invoke a spectral association with the 'golden age' and shift things to the other end of the loudness spectrum, non-competitive mixdown practices in other words, to create a catalyst for a change in production perspective.

Conversations with a then dormant Instra:mental led to them colliding with my impressions of a '97 continuum in the new music they were making and a fusion of concept and music was born. Minimalism was also high on the agenda, a general de-cluttering of elements in tracks to something alluding to bare bones, with more room to breathe, and perfectly encapsulated by the Jonny L vs. Instra:mental collaboration 'Output 1-2' (Darkestral 002), which was taken to its logical conclusion in the title - thought out, not lazyisms - just touches of bass for extended pleasure moments throughout the track delivered via a skeletal rhythmic structure.

What is the ethos of the label? How would you describe its sound?

Originally, the blueprint was to take the sculptural ethos of the Photek production style, allied to the new freedom that dubstep was bringing to
the production palette in terms of variety of sound sources, and a dash of cinematic vision. The tracks need to put you in a visual place in your mind’s eye. Monolake's 'Cern' tune from about 2003 was in my opinion the best drum and bass tune of that year, and although it was basically made by a techno producer, it held all the ideas that I felt I wanted to hear at 170bpm, and so started a train of thought. Also what the Neptunes and some of the new school hip hop producers were doing with spacious beats also worked their way in to the mix of what was being concocted as a blueprint. Everything is subject to change, but I believe that the manifesto is such that I envisage the actual sound to shift and mutate along with my personal developments/interests as well as those of the artists. Another factor as you will know from the sleeves and vinyls, is an appreciation of the creation of a complete package of quality, from the best mastering to high quality packaging materials, a further clue is written on the sleeve in the form of '170bpm ...respect the speed limit', part of the plan to shift things into a more spacious zone where foregoing breaks and standard percussive motions would allow for greater freedom in the sound design possibilites for the artists, whilst removing the imagined tempo restrictive nature of perceived speed.

What do you look for when signing tunes?

I look for those tracks and ideas that I can’t hear being synonymous with any other labels, although due to the quicker than imagined impact of Darkestral's keystone artists, Instra:mental, this is becoming slightly more difficult as the scope of the music that is being made, especially by upcoming producers, means there is now more music that would have appeared 'outsider' a couple of years ago, and the sound of Darkestral is now more part of 'something' rather than 'nothing'. Originality ranks highly on the tick boxes list, emotion perhaps more so, creativity and the 'feel' of the sound all rank highly as elements I would look for. Tempo is not so much of an issue, but nothing above the 170bpm ceiling.

What is the idea behind Darkestral Excursions?

Excursions is a project of equal footing that I've been inspired to start as a result of an ongoing discourse and eventual deliverance of the 'right' feel from Sabre, someone who by way of osmosis appears to have found an understanding of the further out there, soundtrack-like quality I was searching for in a piece of music in order to get this concept off the ground. He knew it was right, and on hearing it so did I, so a perfect synergy between a personal thought and an outside creative force gelled. Next in line is a new artist from New Zealand, called Consequence who has taken my mind to dustbowl dry, cavernous alien planets with his 'dread-step' production sound, minimal yet epic ...and one to watch seriously in the future.

Apart from Instra:mental, which other artists do you have your eye on?

Now that really is one of those 'if I were to tell you...' moments, I think to the future, and dwell in the moment, everything forthcoming is always that.

How do you feel about releasing tunes digitally?

I buy records, I love vinyl, I appreciate the artefact, and in this respect this is what I wish to extend to the audience at present. Financially it’s not particularly astute, but there’s a desire to grow an enthusiasm in the labels audience. Digital will come in the future, but as with the response to the question above, it's on a need to know basis, I want to extend the lifetime of a format that’s been with me since my first purchase aged 7 years old and one which I feel best represents the sound of the music I have a desire for.

To what extent do you DJ or produce?

I have DJ'd no more than a handful of times in my existence, personally I see it as an art in itself, and the dedication it requires to hone as a skill was something I appreciate more in others. Couple this with a not so strange idea that the more an artist DJs, the more he feels pulled toward making music that appeals to a crowd rather than an individual, hence becoming less personal in many respects, and this goes against the label’s instinct. Production wise, in the future, who knows, it is still something I have to look forward to in terms of receiving a finished copy of something I had created from seed to fruition arrive in a cardboard box - a small piece of heaven on earth as an experience, I should imagine.

What's in store for Darkestral in the future, releases wise? Any plans for an album?

At present there is the Instra:mental v. D Bridge 'Sepia Tones' EP (Darkestral004/005), Sabre 'One Man Jettison/Boundary Pt.1 (Afterthought)//Decorum' (Darkestralex001) and Consequence 'Dreadtone / Timeloss' (Darkestralex002). Beyond that, there are pieces ready in the artillery, but bar myself, the artists and a couple of chosen ears, these are yet to be revealed. All that will be let loose is that a certain dubstep renegade has delivered an EP at 170bpm tempo, to reverse the exodus of drum and bass producers who are going the slower route. Album releases are in my thoughts, and have been since inception, but only when the time and project requires its facilitation.


demos: info@darkestral.com
aim: ricodrkstr
www.myspace.com/darkestralrecordings
www.myspace.com/darkestralexcursions