Circles Revisited by Adam F is a big deal. The original is an undisputed and timeless classic. It is a pivotal moment in UK dance music that represents both our scene and our culture. The rework Adam has created celebrates the deep history of the track and the heavy influence that it has had on modern-day drum and bass, but really, it’s only the tip of the iceberg with what’s incoming.
With a string of reworks, reboots and revisits dropping over the next few months, Adam builds up to the release of Colours Revisited in 2025. A huge moment for drum and bass, and the first time any of the original Colours album will be available for streaming.
This is a special occasion, another hard stamp into the history books of D&B and a time worth celebrating as we see the tracks roll out one by one for all to hear. Over to Adam for more on the project…
Adam! Busy time for you with lots of exciting things happening. How’s it all going?
Working non-stop being creative, which is beautiful. After spending a long time running Breakbeat Kaos with DJ Fresh, taking some time out, going to LA to do lots of film scores and writing – all whilst working as an artist and producer at the same time – I teamed up with Kirsty Hawkshaw from Opus III, who is now my wife! After COVID, Kirsty and I decided to set up a label together. It was a big decision but we went for it. We re-recorded ‘Fine Day’, Kirsty’s classic track, with Shadowchild, which was the first release on the label. Since then, we’ve had a slew of music we’re so happy putting out to the world.
You’re in the midst of releasing a load of re-works too, from ‘Circles’ to ‘Music in My Mind’. What spurred on the project, and why now in particular?
I thought it was a good time for this project. It was a labour of love to say the least. Everyone does 25 years of projects so I thought it would be really special to not only remaster it, but to remake it… without ruining it. Also, it’s not like the 90’s are back but there is a real fusion of influences from everywhere right now. There have always been sections of the scene and different styles of D&B but it seems a lot more of a melting pot at the minute. You’ve got new producers and old producers playing and performing together, working together. In the last four years ‘Circles’ has re-emerged into the circuit because of artists like Pink Patheress, who is now massive. The track has introduced ‘Circles’ to a younger fanbase and introduced me to a load of new fans too. It’s good for the whole scene. Also, we just thought, none of my music has been available for streaming, ever.
Great for the new generation who can now listen to it on Spotify…
Exactly. They can really dive into it. There will be a lot of tunes they haven’t heard but a lot that they have because there have been tons of bootlegs popping up these last few years. It was a labour of love because, for so long I was sitting in front of my laptop thinking about the project. To recreate Colours again with all these tracks… ‘Music in My Mind’, ‘Metropolis’, ‘F Jam’, I had to get all my vintage equipment out. Everyone was like ‘Just use this plug-in!’. But it’s not the same. I wanted to take the whole original, organic process. Get the soundboard out, and get the proper equipment. I took some of the original instruments to get reconditioned and they were like ‘Where have you been keeping this? In your garden? It’s covered in mould!’ It had been sitting in the garage for 15 years. We then spent the next two and a half years making the album. I thought, ahead of it coming out, it would be great to have some reboots. I started thinking about artists who have love for the album, but who also inspire me too, and that’s how we created the list of people to approach.
Amazing. Which artists did you pick? Any names you can share?
Let’s kick off with ‘Brand New Funk’. I did my own reboot which started as a bootleg. For this version, I wanted to incorporate the essence of the original version by including and re-recording the original epic intro. This version is the ‘Brand New Funk Reboot VIP’ and is exclusive to my Bandcamp page. I reworked a new funk section to the track with brass, fender Rhodes, and my classic vocoder sound. Bladerunner did a bootleg originally. I got in touch with him and we talked and he finished it off and absolutely smashed it! Both versions have been killing the dance floor in the past 12 months! Then we approached DJ Marky and Makoto, who I know both love and were influenced by my Colours album. I am an equally massive fan of them too. We all come from different areas of the scene and DJ Marky has done so much for the genre and salute to how he has represented and created his own scene across the pond, Makoto was first suggested by our beloved late friend and family member MC Conrad and actually, that collaboration happened because of MC Conrad! We did our first ever live performance of ‘F-Jam Revisited’ together at the London club E1 in a performance we did together with MC Darrison. Up until the devastating loss of MC Conrad, we were performing ‘F-Jam Revisited’ live at every show I played since the re-record.
Nookie worked on a remix on the original Colours album and it was only natural to approach him because he is a personal favourite of mine, to ask him if he would like to rework a version of ‘Music in my Mind Revisited’ His version is deep! It means so much to me and he delivered on the same day as Conrad’s passing which is something that I will always hold a special space for in my heart. We’re all highly respectful of artists we are influenced by, which matters when sending out stems, it’s a trust thing and it takes discernment when handing over your music. Paul T and Edward Oberon, who I have known since and used to come to my studio in the late 90’s recently did a reboot of my ‘Aromatherapy Revisited’ version. I included some extra atmospheric vocals from my wife Kirsty Hawkshaw. Tim Reaper also reworked a Jungle reboot of ‘Aromatherapy Revisited’. Tim has given it a modern take with a classic Jungle twist. Crissy Criss and myself have collaborated on a dance floor smasher reboot of ‘Metropolis’. Crissy and I have a bond, both as friends and artists and in the respect we share for various genres including hip hop, jungle and drum & bass.
Last but by no means least, Outrage – also known as Nomine – has a historical understanding of our genre and scene and has a self discipline that I look up to has done a killer ‘JAXX Revisited’ reboot and has been amazing, not just as a co-producer for some of the tracks on the new album but also as a supportive friend and it has been refreshing to say the least to invite Outrage into our creative inner circle. The second album that we’re working towards is Return To Colours which Kirsty and I have making this year both writing and producing together to follow on from Colours Revisited. All of the above are being released on the new label imprint ‘181 Recordings’ set up by myself and Kirsty.
So much going on. Really exciting times, Adam. You’ve said previously how influenced you are by Jazz, why is implementing Jazz into your records and artistry over the years important to you?
You’re right; I have mentioned on occasion how jazz has influenced my music. In the street music scene, we often hear the phrase ‘I’m cooking up some beats.’ Let’s take that to the kitchen (studio). You can have a name for a dish, for example, ‘jerk chicken’ but there is not one defined way to make it. There are so many variations on how to prepare it, and if you’re not just following the crowd, the exact ingredients and spices you choose to add make it your own interpretation or version, affecting how you want it to taste. This can change every time. I believe that when making music at its best, you should just do your thing and be free-flowing.
In the past recordings and throughout the process of writing and recording our next album Return to Colours, we are recording with Julian Joseph. Julian also recorded on my earlier music as he is one of my favourite musicians and a highly celebrated musician, composer, broadcaster, teacher and thinker the world over. He loves music on so many levels and as friends we share this deep connection and respect for music. In the book ‘Music of Initiative’ written by Julian, he shares his insight into the philosophy and practice of jazz and jazz performance. Bold, provocative, thoughtful and deeply inspiring, Julian told me that in ‘Music of Initiative’ he ‘wanted to be both specific and open in his writings about the kind of journey he’s embarked on where jazz – its music, players and philosophy – has opened his eyes, mind and spirituality on music and life.’ That’s the kind of process I recognise, draws me to jazz and helps inspire the musical world I love to build and thrive in. It’s an important ingredient and I love its presence.
Your career has spanned over 30 years, what are the biggest lessons learnt from over that time?
Even the best have gone off track along their artistic, creative and or musical journey career. ‘The Music Business’. It’s both the ‘Music’ and the ‘Business’ – The Music Business. In my personal opinion, the most successful and well-received art has been made from a place of authenticity. We are all influenced; no one can deny that, but we don’t have to follow suit or be the same. The best always have a unique style, of their art form, be it, expression, on sound, playing, composing, arranging, or writing, is instantly recognisable and ultimately influences others. Think about the music that has touched you deeply and who has influenced you as a music listener. If you want a genuine feeling of self-worth with your creations, I believe that’s the only approach to a feeling of reward to yourself that truly leaves a legacy, despite your expectations beyond the moment of creation.
And then there’s the business, right?
Yeah – then there is the ‘business’. With an ever-evolving world of how music is made, shared, and heard, and how any money is earned directly by artists and composers, many feel a complexity and confusion regarding this. How many times have we said and heard others say things like ‘Such and such is amazing; I don’t know why they are known by everyone, and it seems unfair,’ etc? Marketing costs money, and money talks… right? That, in itself, makes the perfect scenario for one to sell all your rights away for the most part, in perpetuity, in return for a chance at having some kind of career that goes beyond making the music that needs exposure. Historically, record companies have taken advantage of this, and for those who know and are in the midst of a creative career or have managed to make it through a career in music, both financially and in payback, will have learned that signing a contract, for the most part, involves a deal far from pretty.
The offering of what seems a large amount of money must be a huge temptation for a lot of artists… I’m not surprised people skip the small print.
It is a huge temptation, but always think twice and seek advice before making a deal. I personally didn’t come from a privileged background; I worked at a market stall and rented a one-bedroom flat from the age of 15 after leaving school early, a decision I made on my own. I busked on the street, hustled to buy my equipment, and made music. I can tell you now that feeling like a slave to a contract, and what others tell you is actually what they want and think is best, over what you think you agreed to sign a contract for, to help give you some financial support and a chance at exposure for your music, is futile for 99% of artists, composers, and musicians. Independence, especially at this current time, is a great place to be. You are not subject to bias or influence; you are only self-directing and in a place of some creative control, decision-making, and output. Be yourself, be honest, be true to your art. Trust your instincts and don’t be scared of what others think. Art and creativity should not be made for an audience; instead, the art form, creativity, and music will find their audience. That is gratitude at its best.
