Everyone was saying ‘where is this coming from? What is this?’” John Peel started playing it on the radio. “Digital released it and people slowly started picked up on it Klute, Marcus, Intalex, Randall.

“I remember sending Erazer to numerous DJs and they said ‘this isn’t drum & bass, it doesn’t sound like drum & bass’,” he explains. Neither of them fit drum & bass expectations in any way whatsoever. Fittingly they were on Digital’s L Plates: Erazer and Snake Pit. Crunching vibes that really related to people and the culture of the time.”įinally inspired, Amit channelled his own inspirations – ranging from the likes of David Lynch to punk to world politics and King Tubby – and released his first tracks in 2002. It wasn’t about mixdowns or the best productions, it was about vibes. Then Digital carved the scene in half with Deadline. I wanted my own voice but felt I couldn’t do that because everything sounded generic similar pre-sets, similar arrangement, similar mixdown, similar sounds. It was round the 2000 mark and everything was designed for the dancefloor with a very set template and arrangement,” he explains. “Drum & bass had become so generic and sterile for me. Amit’s pretty humble about it and is more comfortable citing Digital and a general malaise at the turn-of-the-century sound of drum & bass. Talk to anyone involved in halftime and they all cite Amit as one of the subgenre’s earliest innovators. Sometimes all it takes is for a few people who are tired of being comfortably numb to fight those rules.

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