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Bad Company

To never be confused with the rock-band of the same name, drum’n’bass renegades Jason Maldini, Darren Light (D-Bridge), Dan Stein (Fresh), and Michael Wojicky (Vegas) formed in 1999 in the ashes of seminal Renegade Hardware act Future Pushes. “The Nine,” the very first release with the foursome, demonstrated an unprecedented achievement for their very own eponymous label, while its follow-up, “The Pulse,” for Grooverider’s Prototype, cemented their popularity as leaders in neuro-scientific post-apocalyptic beats. An eagerly expected debut record, In the Machine, released in the wintertime of the same season, continued with this theme, though in addition, it confirmed an ambition that was to afterwards set them considerably aside from their contemporaries; the fusion of strings with growling bass goes up which described “Colonies” was a satisfying demonstration of the way the dancefloor could possibly be produced even more interesting. Making use of their debut offering more than 30,000 copies (virtually unheard of inside the motion), the staff produced a slight, but still astonishing, change of path — making use of their music sounding much less like their Pathogen contemporaries compared to the soundtrack for some late-night, futuristic dilemma. Having changed their name to BCCB (a two-planed reflection picture of BC) in 2000 after undesired attention in the hard rock action of the same name, the quartet unleashed their second recording, Digital Nation. Although two-step percussive and razor-wire basslines had been still quite definitely in proof, the audio was dominated by way of a bastardized techno-synth powerful. From the starting title track towards the shutting whispers of “Navajo,” John Carpenter-esque synth lines presided more than a scenery of jittery beats and speed-freak melodics. Because the drum’n’bass dancefloor languished throughout 2001, the ever-ambitious BC released an recording (Book from the Poor) combining roughneck accessibility with an increase of tangible components. Stein and co. had been careful never to alienate their target audience, providing a lot of twisted percussion and squabbling bass frequencies in between the even more abstract materials. Having recruited Apollo 440 drummer Paul Kodesh, the group reinvented themselves for any third period, with a fresh moniker (Digital Country) pre-empting a much-vaunted live take action. Their American debut, Shot Down on Safari, premiered as BC Recordings early in 2003, including a reward disc (Greatest of the Poor) which functioned as a combination recording and a BC background lesson

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