Features

Optiv

Ed Holmes, better known as Optiv, has been a major player in the drum & bass scene for more than ten years now. As an essential part of Cause4Concern, he has shaped the technoid side of jungle since the late 90s alongside artists such as Bad Company, Konflict, Usual Suspects and Stakka & Skynet. Still going strong as part of Cause4Concern, Optiv has also been releasing solo material since 2002, which also marked the foundation of his own Redlight Recordings.

Now residing in Berne, Switzerland, Optiv can look back on releases with labels such as Quarantine, Renegade Hardware, Violence, Cyanide, as well as shadybrain, a home where he just returned to deliver a massive 12" entitled Generation Lost. Time for Knowledge to meet up with Optiv and explore his mission...

Besides being a part of Cause4Concern you have been active as solo artist for a long time now. Do you try to make a difference when starting tunes in your group compared to your solo ones?

Not really, I think when you work with other producers the music automatically differs from what you would usually write by yourself, decisions made are different and production techniques are merged.

When I am working alone in the studio I have the time to experiment with new production techniques and plug-ins or software that I wouldn't usually use. When I work with other producers I don't usually have the luxury of time so it's more about getting the tune done and putting into practice anything new I have learnt.

With C4C you have been involved into the development of technoid drum & bass since the late 90s. How do you see the progression of neurofunk through the years?

When I started it was a lot less complex, the emphasis was more on the idea or groove of a tune rather than loudness or mixdown. I think the quality of the music is far better now and with the advances in technology and software the sound design possibilities are great.

There was a time when the neurofunk sound was really dominant in the scene, and a lot of tunes ended up sounding quite similar. Nowadays the scene is quite varied and people are experimenting more, I think it's great.

How has drum & bass changed since you started producing?

A lot has changed and mostly for the better. When I started to produce in the 90s, making music was no way near as accessible as it is today. The computers weren't capable of much more than sequencing and if you wanted to produce you had to save up and spend a fortune on hardware.

I used to work in a record shop selling lots of drum & bass on vinyl because mp3s were not really known and CDJs were pretty rare. No one really used the internet as it was really slow and cumbersome to do anything.

Listening to your new 12" on shadybrain as well as your recent material with C4C it seems as if you also dig deeper for more minimal sounds. What do you think of this new minimal progression in general?

I find it a breath of fresh air. I think a lot of it sounds very original and from a production point of view it allows for a lot of experimentation. I really enjoy switching between writing harder dance floor music and minimal music; I find working like that makes me more creative.

OUT NOW: Optiv - Generation Lost / Smoke Screen - SHB009 by shadybrain

Releasing on labels with a strong history in digital sales like shadybrain as well as now doing digital-only releases on C4C as well as Red Light, do you think mp3 is the way to go now?

The reality is that vinyl is slowly on the way out and in this day and age it makes total sense to release more digitally. Having said that, we will continue to put out some releases on vinyl while there are still enough people who want to buy it.

What do you think is important for newcomer producers who want to break through these days?

I think the most important thing is to be original. Producers who have good original ideas will stick out more.

Does the internet and its connectivity make it easier for producers to get signed or do you think the whole thing is killing the scene and industry?

Personally I embrace the internet, I see it as a great platform for promotion and being able to communicate between labels, producers, DJs and fans is better than it's ever been.

For record labels it can be hard though as music can be illegally downloaded for free. However, I think that situation is improving slightly.

What can we expect from you in the near future?

I've been quite busy and as well as the release on shadybrain I have some releases due on Hardware, Cylon, Icarus Audio, Horizons and Subtitles to name a few.

Anything else you want us to know?

The next release on Red Light will be Borderline – Informed / Gazala remix, the next release on C4C is Paranormal (Prolix Remix) / Seawolf (IllSkillz Remix) and the first release on our new digital only label is The Sect's Mind As Machine / Slimer, so look out for those in the following weeks. Beyond that look out for Optiv & MarkC4C - Bedlam / Why Are You Doing This and Acid Lab - Area 51 / Escape on the new digital label.