Hi Chris, hope you are good! So let’s talk about the name Omni Music! The word omni translated from Latin means “all” or “every”, can you talk us through what made you choose that name?
I’m good thanks, hope you’re well too. Well as you said Omni means ‘all’, and my intention with it was to cover the spectrum of sounds I personally loved in drum and bass from the atmospheric melodic side to the darker sounds, so it basically represented what sounds I love in Drum and Bass no matter the mood.
The only real rule was that it had to be deep and mature music that would stand the test of time. In my head ‘Omni’ was the perfect word to encapsulate that.
There’s one thing for us that really stands out and it’s that you are still pushing that type of atmospheric DnB that seems to not really be present in recent times and thinking of how iconic that style of DnB/Jungle is, I find it a bit surprising… Why do you think there isn’t more of that style of being pushed by labels in recent times?
It’s a hard question to answer as I really don’t know. There are a handful of labels that have been releasing it, such as Cadence, and Advection, which I have had the pleasure of being affiliated with and releasing tracks on, and there are some great artists that dip their toe into it such as Infest, and Rainforest as well as the long-standing producers such as Okee and Aural Imbalance that are still flying the flag. But it seems to have generally faded away a little, maybe because the ‘big’ labels that pioneered this such as Good Looking etc turned to other styles eventually so people perhaps became accustomed to those styles, but I really don’t know. There has always been the odd tracks released that kept the atmospheric vibe going, such as some tracks from Seba and Paradox for example. With the lesser known digital labels deep deep down in the underground there were some gems that still kept appearing and that was enough to satisfy me at the time. When I set Omni up I wanted to make sure that I made an effort to feature the atmospheric sounds that inspired me so much growing up with this music as it was, and still is to me, some of the most amazing and beautiful music I have heard. The new resurgence of the Jungle sound has been a good thing, but it’s still by and large ignored getting too atmospheric (not entirely but as a general rule). So I couldn’t give a definitive answer other than theorizing that it fell out of favour with the masses to be replaced by dancefloor friendly easy to mix very quickly DJ-friendly tracks, then just simmered in the underground DnB circuit for a while with the odd track surfacing, and overall the new flavour of the month being jungle has kept it at bay again. As I already mentioned, I set up the label to encompass all sounds I loved in DnB, and jungle was always there from the start (apart from ragga-jungle, I have to admit that I could never stand it), in fact the 4th ever ep release back in 2011 was from Greenleaf and was simply titled ‘Omni Jungle’, so breakbeat jungle has been another part of the music I have always loved since it came to being.
Oddly, I remember doing an interview a fair few years ago where one of the questions singled out that I was keeping an ‘oldskool’ sound going by releasing a lot of breakbeat-led tunes, and I always found that a surprising question as I hadn’t actually even conciously fully realised that I was only one of a handful that were keeping the breakbeats at the forefront of the labels release schedule (Sci-Wax, Subtle Audio, Paradox etc were leaders in this field). The music was born out of breakbeats so to me they should have been there, it was just doing what I felt should be done. Fastforward 5 or so years and the DnB/Jungle landscape is breakbeat aplenty, which is a great thing.
It’s interesting to hear that Omni actually stands out because of the atmospheric elements, I have never refused to give up on the style I loved the most and that I produce myself the most. I am happy to be able to give this music out to the people who still want to hear it.
While we are talking about things that stand out, I must also highlight the artists you sign too, lots of unknowns/up and coming producers in there which is great to see! How do you come about acquiring music for the label?
Well every artist has to start somewhere and I have always been keen to listen to what new artists bring to the Drum and Bass sound as they have new fresh ears and ideas and haven’t been conditioned by the scene as to what they ‘should do’. At the beginning of Omni Music the new artists also included myself as well and I had been friends and acquaintances with the artists I first started out with as we networked through forums and other online digital labels. On that note, the unknowns back when I started the label and still feature include Greenleaf, Infest, Indidjinous, Fushara, Enjoy, Okee, Parallel, Limit, Scale, DgoHn, Cryogenics etc, artists that are now branching out to lots of labels and getting great exposure where needed and well deserved too. I will always listen to whatever people send to me as I think there are always new ways of doing things and Omni has always been about what I love, and part of the love of drum and bass has always been the expirementation, without that the music wouldn’t be here today in the vast styles it has. As to how I acquire it, I get a lot of demos sent through, but sometimes get introduced to someone through another artist and we hook up that way, and other times I just get really insistent and badger the shit out of people I have heard potential from until they cave in and finish a track for me haha. I can be a bit of a slave driver with some artists, apologies to them, they know who they are
With artists I have featured a few times before on release I always like to know what they’re currently up to so I always routinely check in with them to see if they have new material and if not then I badger the shit out of them hahaha.
At the end of the day, great music is great music, it doesn’t matter who actually made it, so unknown artist or well known artist, they’re all part of what the label is about because the label is about the music not any individual, the whole reason that Omni exists
Having said all that I have still featured more well known artists over time, examples are Aural Imbalance, Voyager, Pariah, DJ Trax, Future Engineers, The Dicemen and so on.
Going through the back catalogue there’s a vast amount of content, digital back catalogue number up in the nearly in the 160s! Since 2011 you’ve been very consistent, but prior to starting the label was it always your goal to release music this often and keep consistency with releases?
The actual digital back catalogue is even sillier than that and is actually more like 240 with the Albums (of which there is about 65 of) , the experimental largely non-DnB offshoot and Free releases added in, as I started with releasing free releases on Bandcamp as well as sale releases to begin with and then tried to venture out into more ecelctic styles such as Ambient, Deep Techno and Electronica with a seperate part of the label.
But back to your question, I don’t know from memory if I planned to release consistently like this, but I did have a large selection of tracks from artists when I initially set up the label that were ready to come out so I knew I had a steady stream to start with and I know as an artist there is nothing more frustrating than having something signed to a label and waiting for it to be released and it taking a year and sometimes longer, so I did make a promise to the artists that I would try and get the tracks out for them as quick as I possibly could, it’s the least I could do for releasing their amazing music for them. So I kind of fell into that mindset and was frequently sent great music that may not have ever seen the light of day if I didn’t get it out, and by that time I had quite a lot of great music building up so it naturally fell into me being able to release it so frequently and consistently, which has continued through to this year. This year has been slightly slower than usual due to a few personal issues and having not had the time to follow up on some demos properly, but I have still kept the releases as steady as I can. I release a nice variety of sounds, moods and styles and it means there is something every other release for a different persons tastes. I do want to try and focus back in to the atmospheric style though as like you have said earlier, it is lacking an overall presence so I need to bring it back into the frame. Also, I want to get back to releasing more vinyl, so we will see how that goes.
Last month you announced preorders for a vinyl release, which isn’t something you have done for a long time, the labels been predominantly digital. What is it that made you choose now to start releasing vinyl again?
Well a couple of reasons. Firstly, when I originally released vinyl, there weren’t many of the real super-duper completely underground DnB labels releasing vinyl at that time, bar some, such as obviously Subtle Audio, Scientific Wax, Inperspective, Pinecone Moonshine etc, so I thought I would give it a go as at the time I had been saving up as I had a decent wage packet coming in. I cut my teeth on the ‘New Beginnings EP’ and it was a slow burner but eventually I sold out. After that I released ‘Enigmas EP’ and ‘Outer Reaches EP Parts 1 & 2’, but Enigmas seemed to take a long time to sell them all, and I made a big loss on the Outer Reaches EP’s and eventually threw the stock away as I was relocating abroad and simply couldn’t afford to ship it all with me. I remember at the time that it was all over social media about vinyl sales starting to make a come back and I couldn’t quite figure it out, I had promoted it as well possible and had distributed it to the main record stores in the UK. At that point I realised that the majority of my audience were still primarily digital so with that realisation, coupled with the fact that I had just moved abroad to live and was trying to find my feet and make ends meet meant that I simply a) could not afford to put money aside as I was living with no ability to save at that time and b) If I did, I couldn’t guarantee that I would make the money back.
I have been predominantly digital overall also because of a number of factors. Firstly, when I started the label the appetite wasn’t there for pressing vinyl as it seemed to be the period where vinyl wasn’t selling in vast numbers for very underground labels. I remember picking up some amazing music for £1 from Redeye in the bargain section, not understanding why that hadn’t been sold before, so it didn’t seem like a risk worth taking, especially with a new label of which the majority of people hadn’t heard of (and probably still haven’t hahaha). Secondly, I was receiving that much good music that as mentioned earlier, I had a lot of material to get out there and to try and release even half of it on vinyl would mean I would need a million pound salary, which to my disappointment wasn’t going to happen anytime soon (even less of a chance now!).
The only exception to that was that I released a lot of the early LP’s on limited edition CD, but I found I was gradually having to press less and less of them as they also weren’t selling and eventually abandoned that too.
I sat back and just released everything digitally after that and gradually started seeing that more and more labels were taking the leap into vinyl and that people generally seem to be more interested in vinyl again. So I started saving a little bit up monthly where I could and when I could, and eventually had enough to dip my toe into the sea of vinyl once more so approached a number of artists about getting tracks sorted for it. It was nearly derailed at one point as I asked the company I had used previously for a quote and that quote includes the delivery charges to you of course, and my heart sank as it was going to cost as much to send the vinyl to me as it would be to press them.
So, I started looking at European companies closer to where I was in Malta, and they didn’t seem to offer much better prices overall. Eventually, after a few other leads had been exhausted (and a huge thanks to Pawel at Absys for putting his time and effort in to help look into things for me), I decided to ask Marc from Pariah if he would be happy for everything to be delivered to him so he could ship the orders out, and he was more than happy to, so this vinyl release is generally going ahead thanks to him as it was the only option left at that stage, so thanks Marc .
While we are on the subject of vinyl… It would be a good time to talk about its place in the industry in modern times and also could you give your pros and cons as a label owner to releasing vinyl?
Well I guess the pros of releasing vinyl are that you end up with a physical product, which from a buyers perspective such as me is always a great thing as you own that ‘thing’. I come from the time when Digital audio was something in a sci-fi movie and you sometimes only heard a tune for the first time at the local record store as you listened through them, or a rave/nightclub. For an artist as well it has an allure for the same reason, it’s physical, it’s something they can behold and keep and carry with them throughout their lives and eventually show their grandkids etc… It’s a tangible acknowledgement for them of the tireless hard work that they put in to creating that piece of music, and for that reason alone, if I could release everything on Omni on vinyl I would.
That’s the main pro to me, but there’s also that this music started on vinyl so it’s an iconic thing too, so as a label owner it is something to be proud of.
Now to the cons, well first of all is the crazy cost of getting it pressed. Releases now are around the £7-£12 mark, and that’s because they cost so much to press, so it’s priced to break even. I remember I used to pay £2.99, I know that was back in 1990-1992, but that was for a brand new release often with 4 tracks…(Grandpa Simpson..When I was Young….blah blah, yeah I know how it sounds).
That was crucial to my mind when pricing this latest EP, I wanted to make sure there were 4 tracks, just like I used to do with the earlier vinyl releases (as I had the same thing in mind), because I know as a record buyer that paying £10 for 2 tracks seems crazy and I am not sure I could feel comfortable charging someone that. The cost of the new EP is basically priced to break even, and all the money received, if it does break even, will then will go back to funding another vinyl release. The cost of pressing is definitely a con (no pun intended ).
Another con is the length of time it takes, I will take the new EP as an example again, I was quoted a number of weeks from payment before they are pressed and then shipped to me (well Marc), I expected that to not be the true length and expected a slight delay, and kept an eye on the estimated delivery date and eventually chose a date for the pre-order that I thought was pretty solid, but then it got delayed again, twice. It’s frustrating to tell customers that have paid their hard earned money that what they paid for is going to be even later than the last time I said it was going to be late, but that’s the reality of vinyl I’m afraid
So, the cons are cost and the poor and unreliable estimates of pressing, which as a label owner can be a frustration, but something that seems to be the norm now. I have been told by the plant I use that they are aware that it’s taking much longer due to demand and are trying to put processes in place to speed it up, but they said it takes time to set things up, so it’s probably going to be the norm for quite a while longer I would have thought.
We see that you do a regular radio show on Alpha radio, must be a great way to test out the new label dubs and your own music! When did you start the show?
It’s actually quite recently, just back in October 2017. Before that I did had been doing a monthly mix that I posted up on mixcloud called the ‘Omni Sessions’, that gave me the same opportunity to play lots of dubs from the label and other labels too and I started that back in early 2013 so that ran for quite a few years. I used to play oldskool stuff too every so often to break it up, anything from 1986 – 1996, as I have a large record collection, so it was great to revisit some classics and obscurities. I think one of my favourite Omni Sessions was one that went completely oldskool with mid-late 80’s and then worked it’s way to 1991:
The Alpha Radio shows allow me the freedom to search back through my collection too every so often and pull out memories, so I’m really pleased to be able to do that. Generally I started with 2 shows a month, the first one would be new DnB and the second one would be either an oldskool set or some deep electronica. Every now and then I do some extra shows inbetween if I have the free time, so it’s quite a nice fluid arrangement with them. I rarely play new more mainstream DnB, but occasionally will drop something in, but by and large you will hear a lot of Omni Music Dubs and new material from the cream of the underground labels that I have had the chance to get round to listening to
Away from the label, do you listen to much other music apart from DnB and Jungle?
Well I intend to and generally always have done. One of the problems is having the time to listen to music as much as I used to, as I have to dedicate a lot of my free time to the label now and that time previously was when I listened to other stuff. I still do my best to find the time though. My tastes are pretty wide, I have a main focus on electronic music, more on the deep side, melodic techno, dub techno, ambient, a mix of those things, plus I still love my oldskool so listen to that as much as I can. I listen to a lot really, always loved psychedelic guitar bands and world music, just a mix of everything really that musically stands out or has suitable memories attached to it for me. I draw the line at a lot of the music I hear in the top 40 lately though, that makes me want to stab myself in the ears with the sharpest thing I can find
Any thoughts about doing an Omni Music event? Got to say I’d be keen to have a night of the labels music!
I thought of it years ago but at the time due to working a lot of hours I was restricted to trying to put on an event near to where I lived, which would have been Nottingham. There is a good DnB scene in Nottingham, but I never felt that my label was the kind of DnB played out there, as I was and still generally am not a well known label that sells huge amounts of units, I really needed to be somewhere more central like London to catch as many of the people that supported the label as possible. So I never actually got round to it.
Living on a small island called Gozo now means it’s not going to happen here as there is no drum and bass scene, and on the main island of Malta there is also not much of a DnB scene, certainly not the Omni style, so it’s unlikely to happen here.
If someone wanted to help organise one somewhere else I would definitely look into it though, it’s something I would certainly be interested in. Especially if they live in Hawaii. Or Fiji.
Before starting the label, talk us through your journey into DnB/Jungle music…
My journey was a natural process, starting with the golden age of pirate radio stations. It started in 1990 as I just played around with an old Cassette/radio player turning the dial to different stations and came across something that was completely alien to me. I wondered what on earth this futuristic music was and eventually found out it was Acid House and Techno, after that a friend and myself were actively recording tape after tape from the underground staions (by 1991 it was Rave FM locally, then followed by Touch FM). We were hearing all this incredible music and then started buying it pretty quickly in early 1991. We tended to not buy the same things as that gave us chance to buy double the amount and play each others records (I regretted that after we lost touch and had to go back and try and find the releases I didn’t buy). It opened up the floodgates though and we were going back to listening to the music that preceeded that and buying what we could find of that too. Luckily back then, you could find loads of valuable releases in the £1 bargain basement as they were yet to gain value and exclusivity. In fact Arcade Records in Nottingham used to have a lucky dip bag for about £10 I think it was, you never knew what was in there, it could be garage, acid house, italian house, breakbeat Techno, hardcore, but there was always something in them and it was fun to get home and see what was in the goody bag haha. We both started going to parties and continued listening to the pirate radio stations throughout 1993 and 1994 and collecting vinyl. We used to make a trip into Nottingham or Derby every Saturday morning, hanging out in Selectadisc, Arcade or Tuff Records down in Hockley, a lot of the time it was the first time you would hear tunes when someone in the shop played them for you, and other times you’d hear that tune you desperately needed that you’d been jumping around to at a party. You could still find bargain basement £1 deals too, 2 examples are Doc Scott – NHS (Disco Remix) and 4 Horsemen – Drowning in Her, both £1 from Selectadisc…damn those times were good! As I mentioned earlier 4 track ep’s used to cost anything from £1.99 to £2.99 then around £3.99, nothing more than that, it was such a joy to be able to live through that.
So I basically spent all my teens listening to the music evolve, all the way through college and into my early adult life, as Rave/Hardcore evolved into Jungle Techno and early Drum and Bass and it just continued to flow into the sounds of Good Looking Records etc, which had really caught my ear back in 1992 with their first release the seminal ‘Demon’s Theme’ and I followed the label from there. It was such a great new almost adult take on the music to me at the time and I was hooked and it still shapes the way I produce and what I like most in DnB. I did have every single GLR/LGR and offshoot labels releases but sold a few of the later ones recently, which in my mind weren’t representative of that classic GLR sound.
I actually got bored of DnB for a little while around 2002-2004 and went back to collecting all the oldskool hardcore releases I could track down, but then started hearing stuff that was resonating with me again, such as releases on Covert Operations etc, and started listening back to it again. I was suddenly back in love with the music and was heavily in touch with a lot of guys on Subvert Central and was listening to some of their incredible tracks that were now turning into drumfunk, but experimenting a lot and I was still able to find artists on the very fringes of the underground scene making newer sounding GLR stuff, so I was hooked again.
I now had the money to start my own modest studio and try my hand at production. I had done it previously with trackers on Amigas etc and was able to produce some very early rather crap demos, but this time was motivated to learn properly. I had always been quite musically-minded so it wasn’t a great leap to producing, it was just learning the software and utilising my ideas and realising them.
I was involved in some early net-labels and then it was a small step to setting up Omni Music, initially just so that I could release my own music that didn’t fit other labels sounds. I then started receiving lots of great demos, a lot from the artists I had been in touch with on Subvert Central and I had amassed a collection of great music that I thought may not see the light of day, so I then decided Omni would release music from anyone, the common denominator was that obviously I had to like it, and that it was deep and intelligent in its’ vision and/or design. It didn’t matter if it was on the darker side or lighter side, as mentioned earlier, as long as it was deep music I would always listen.
So that’s a brief history there, yes that was brief haha.
There’s been a lot of Omni chat! Lets turn the attention to you and your production Alias-Eschaton.
Aside from label scheduling and behind the scenes work, how do you find it squeezing in production hours?
Completely hapharzardly, and not just because it’s finding the time to squeeze it in, but because I go through phases of not being able to get ideas going and sometimes getting fed up, I think a lot of producers may know how I feel. Then, out of the blue, I get inspiration and feel the time is right to get a track finished. One thing I have learnt is that different ideas come to me at different times for each track, so I have hit a brick wall on one track so I fire up another project and work on that as a change is as good as a rest, as they say. So I often have (very often!) between 10 and 20 unfinished tracks in various stages of composition, or decomposition sometimes haha, and then I will get the drive to finish them and end up with about 10 tracks all ready at once.
Another thing about working on my own music, as you mentioned, in your question is fitting it in, as I have label commitments that take precedent,. I also have the radio show, so it’s a balancing act I guess. Plus the summer here is ridiculously hot most the time and when you’re super hot, you really can’t concentrate so well, which is compounded by the fact that my studio is on the top floor so it is 38 Degrees C easily a lot of the summer in my studio. on the flip side of the coin it’s really cold in the winter, so I wear 3 layers of everything to keep warm (we don’t have central heating here and heaters only warm you up if you cellotape them to your body). Trying to play the keyboard with skiing gloves on took some mastering
Anyway, I’ll get back to the point, I fit my production in as and when I feel motivated, have ideas and it’s not too hot that I just want to lie on the tiled floor face down. My most productive time is October to May I would say over here, that’s when I probably finish most tracks.
Can you talk me through the studio equipment you are working with? For all the gear nerds out there…
Ha, well Gear Nerds will be getting their Voodoo Dolls out any minute haha. I currently have gone to a complete soft synth set up except for my Midi keyboard. Now, before someone sticks a pin in my brain, allow me to explain why.
I previously saved up and loved and laboured over two absolute classics, the SH101 and the Novation Bass station, that’s how I started out and did my early music, incorporating VST synths here and there as I was finding different sounds every now and then with them.
As you know, we have now moved abroad to Malta, and Malta at the time was just the first step and we were eventually planning to move away again and live a simple life, maybe with some chickens and pigs in a Central American rainforest haha, but alas, that got put on hold for reasons I won’t go into and may not happen anytime soon, or at all. But with that vision in mind, we wanted to cart as little stuff with us as possible and I started playing with lots of VST’s to get used to them properly and decided that I could live without them, as it was a necessity if we were going to move abroad again, or so I thought at the time. In retrospect I should have kept them, but that’s life. I have got fairly used to the VST synths, so to me that’s a good thing, because in case we ever do make that next adventure a reality, we’re ready to roll.
I do miss the hardware though, but c’est la vie….
How about the Malta life? I’m guessing you are answering these questions while sitting on a beach or swinging in a hammock sipping a cocktail right?
Haha, that’s not quite the reality of living here. It’s good overall, the weather is a surprise, because as I mentioned before it gets very cold in winter and people don’t expect that, but it’s also very hot in the summer, which would be nice but as I live on the smaller sister island Gozo, it gets an influx of tourists it can barely handle, so you can’t get on buses and do what you want to do most the summer. Aside from those small gripes, it’s a calmer place to live (Gozo, I don’t think mainland Malta is the same), the weather is changeable in the winter but nice and steady in the summer, and being just above Africa you know you’re always guaranteed a summer.
We love tropical places and wildlife, which unfortunately this island lacks, but the people are warm and friendly overall so it’s a nice place to live. We have the same issues as the UK at times, but they’re on a much much smaller scale. We have a couple of beaches nearby, but I am not sat on one right now and I’m drinking a cup of coffee. Tomorrow I will be sitting near a beach though, with a beer, wishing I had answered all these questions in a hammock after a few cocktails, wondering if my answers would have gone on other tangents haha (Who knows how long I would rambling on for then).
Getting back to Omni, we have discussed the past and present, can you now give us some idea of what the future might hold for the label?
I am working actively with a number of artists and have some incredible music to come, it may not all appear this year, but certainly very very soon. I’ve got a few LP’s in the pipeline which I will keep quiet for now, but there are some Omni regulars there with their first fully fledged albums, plus some surprises.
I’m working on material myself, a few collaborations, and some material for other labels, plus a full LP with Parallel and a vocalist, so there’s plenty in the pipeline. So keep your ears and eyes alert as we will have plenty more epic music to come
I am looking to put out some more vinyl if I can get the funding, as I might have mentioned earlier, I can’t quite remember as we started talking about 3 hours ago haha. But yeah, I think there’s a lot to look forward to and I am hoping to get Omni more recognition as it’s still not a very well known label in the grand scheme of Dnb, and even lesser known in the grand scheme of electronic music and so on and so forth. So, I want to try and change that, I have been trying to do that for a while, but it’s not worked, so I need to try harder
I am trying to keep that atmospheric vibe Omni is known for, but keep it fluid, so I may feature slightly heavier stuff every now and then, but the general feel of the label will be musical DnB/Jungle/Electronica, with some breaks and hopefully a healthy amount of those sounds merging together and through each other, that’s the Omni way
Accompanying this interview we have been lucky enough to have you record an all Omni music showcase, talk us through how you put the mix together?
I wanted to do a showcase of the entire history of the label, a snapshot of the whole catalogue, obviously not the whole catalogue otherwise the mix would be longer than some of my previous answers here haha. I knew I wanted to try and represent as many of the regular artists as possible as well as some of my favourites. The problem is with such a vast catalogue of music to draw from, sometimes you can’t see the wood for the trees and I also forget some gems, so there are loads I missed off, both personal favourites and some artists that deserved to be represented but weren’t, but there you go. The mix was originally planned to be 2 and a half hours, which was a very bad estimation on my part considering how many tracks I pulled up to put in! At the 2 and a half hour mark I wasn’t going to stop so just carried on. All I say is that by the time I finished, the loudest sound afterwards was me hotfooting it to the toilet as I was desperate after 4 hours hahaha
With 2018 already seeing 13 digital releases and the vinyl release, how’s the rest of the year looking release wise for the label?
To be honest I have been a little slower this year than I would normally have been, as I have been busy doing a number of other things, so it’s strange as it feels like it has been quite a quiet year for me, but when you say 13 releases that does actually sound like a lot! I was getting 2 releases out every 2 weeks some years, so it’s no wonder that the back catalogue is as high as it is.
Fear not, I have plenty more to come, I’ve just released a beautiful LP from Okee, as well a various artist compilation featuring much darker experimental material than I normally release, it’s kind of a swan song for the darker edged sounds on Omni as I want to keep the momentum in the atmospheric side of things as I mentioned. Let’s see how long that lasts though
I’ve got some great EP’s in the immediate pipeline too from T.G.M and quite a few that are having the final touches put to them from The Dicemen, Abstract Drumz, Acid Lab, Binary, Deep Stealth, Flatliner, Antony G, Binary, Marc OFX, a new artist called Intermittent and plenty of others. The Celestial Changes vinyl release is out now and can be purchased from Bandcamp
I am working on putting the finishing touches to the next vinyl release which will feature 4 more exclusive collaborations. There will be more news on that once it starts to properly take shape.
I have also just launched a line of clothing, where you can choose from a variety of sizes and colour variations of hoodies/T-shirts etc of 2 different designs, so that’s great to get that up and running, if anyone wants to see them they can be seen here:
Before we wrap this lovely chat up, anything you would like to add Chris ?
Well before I go I’d like to thank every artist who has been involved in Omni Music since it’s inception, I wouldn’t be here still releasing beautiful music if it wasn’t for them. There are far too many to actually list individually, but please be assured that you all are in my thoughts and gratitude. I’d also obviously like to thank all the fans of Omni Music past and present, I do this for them as much as the artists so a massive respects to them and all DJ’s who are supporting the underground Drum and Bass sounds. You’re all the best, eternal peace to you all.
I think that’s probably about it, unless you want to ask me another question, but then we might be here another 3 hours