Photek ‎– Ni - Ten - Ichi - Ryu

Label:
Science ‎– QEDT 2
Format:
Vinyl, 12", 45 RPM
Country:
Released:
Genre:
Style:

Tracklist

A Ni - Ten - Ichi - Ryu ( Two Swords Technique ) 5:56
AA The Fifth Column 7:20

Companies, etc.

Credits

Notes

Made in the UK

Published by M.C.A. Music Ltd.
℗© 1997 Virgin Records Ltd.

Barcode and Other Identifiers

  • Barcode (Text): 7 24389 40336 7
  • Barcode (String): 724389403367
  • Rights Society: bel BIEM
  • Label Code: LC 3098
  • Other: F: PM 12
  • Matrix / Runout (A stamped): QEDT 2 A-1-1-1 Ⓜ
  • Matrix / Runout (AA stamped): QEDT 2 AA-1-1-1 Ⓜ

Other Versions (5 of 8) View All

Cat# Artist Title (Format) Label Cat# Country Year
QEDCD2, 7243 8 94033 2 9 Photek Ni - Ten - Ichi - Ryu(CD, Single, MP) Science, Virgin QEDCD2, 7243 8 94033 2 9 Netherlands 1997 Sell This Version
QEDCDJ2 Photek Ni-Ten-Ichi-Ryu(CD, Promo) Science QEDCDJ2 UK 1997 Sell This Version
QEDCD2, 7243 8 94033 2 9 Photek Ni - Ten - Ichi - Ryu(CD, Single) Science, Virgin QEDCD2, 7243 8 94033 2 9 UK 1997 Sell This Version
none Photek Ni - Ten - Ichi - Ryu ( Two Swords Technique ) (Dubplate Mix)(Acetate, 12") Not On Label none UK 1995 Sell This Version
QEDTDJ 2 Photek Ni - Ten - Ichi - Ryu(12", Promo) Science QEDTDJ 2 UK 1997 Sell This Version

Recommendations

Reviews Show All 10 Reviews

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Lexpie

Lexpie

December 25, 2016
Thank god this was written. Thank god not all jungle sounds like this.
sachanoordin

sachanoordin

December 22, 2014

Complex, sophisticated, cutting-edge & hugely listenable. It's a record that keeps Has deconstructed not just the beats and the rhythms, but one's perception of Drum & Bass. Photek's best work in my opinion.
A must-own record for any discerning D&B enthusiast.
karlrichard

karlrichard

February 9, 2014

'Ni-Ten-Ichi-Ryu' is certainly the KILLA track to hear on this 12"... In fact, for me, it represented the pinnacle of Photek's (a.k.a. Rupert Parks') programming abilities, showing why his cutting edge sound continually broke through barriers of what Drum & Bass could be time and again. No one came close to making beats like these... Why, we may never know. Perhaps no one was as daring as Parks was... Maybe it was for fear of never quite getting it as far-out sounding as Parks had, and thereby being shredded to pieces by his ferocious creations, most of which (I remember reading somewhere) were fuelled by a habit of extended waking hours (36 hours awake and then 12 hours of sleep). Who else could get near these razor-sharp arrangements? Not many. Certainly the style of his creations cut to the heart of Drum & Bass like nothing else had before.

I first remember hearing this track down at TEMPO... When it came on, we totally stood in awe. When Grooverider had dropped it, it had sliced through the club like a Ronin might slice through his enemy... Our minds cleaved apart as though a Japanese folded steel blade had passed through us. Rewind once... Rewind twice... Rewind a third time... We went wild for it! All those usual fresh rhythmic patterns that were flooding in from new blood like John B and other young producers, were cut down to size when set against the complexity of this Akira Kurosawa tinged vision that instilled a type of tension in one that you'd expect only to get at an Iaido match.

TEMPO, which was - at the time - being held in the Velvet Rooms on Tottenham Court Road, sort of continued on from where SPEED left off. However, despite being put together by Grooverider and Fabio, it never really took off like SPEED did. Still, there were moments down there that saw some great evolutions in the form i.e. tracks like Matrix's "Mute" and "Junk", along with Optical's "Grey Odyssey", all of which rumbled the dance floor with satisfaction... However, the push to really expand and go beyond what was being done in Drum & Bass had already happened. To go beyond this would be to leave Drum & Bass behind altogether. Saying that, when Grooverider spun this track down there, you felt as though you were actually back at SPEED, at the cutting edge of Drum & Bass once again... Hearing things that you never imagined were possible. For me, this track almost left Drum & Bass behind. It was this daring of Photek's that, when put in context of all the other tunes, shows how far beyond anything Drum & Bass it actually went.

Released on a Virgin sub-label, Science, (which I believe Photek setup after Virgin signed him) most of the tracks released on this imprint never really amounted to much. But perhaps that's what happens when you create something as great as this.

Certainly this track has to be heard to be believed... But it has to be kept in context too... I've played it to people who never really got into Drum & Bass and many just didn't get it. If you can follow most of the music that was coming out between 1995 and 1997, you'll see exactly why this set the standard.

Definitely a 5/5!
Temporarities

Temporarities

November 18, 2007
Probably one of Photek's best work ever made on Virgin's sublabel Science (set up to release dnb productions from Photek and Source Direct). The track Ni Ten Ishi Ryu; originated by Japanese Ishi Yama Ryu who crafted this special swords technique for more then fifteen years to develope the unique 'Cut back Cut' Two Swords Technique) this can be heard in Rupert Parkes highly original release with it's most intricate complex beat programming and seductive hypnotic subbass lines. A true timeless masterpiece of (artcore) work, this classic was recently remixed by Norwegian dnb producer Teebee.
Sveniboy

Sveniboy

February 7, 2005
edited over 12 years ago

Around 1997, the time this record came out, lots of guff was being talked about “intelligent” drum ‘n’ bass, of which this record is a prime example. I don’t honestly know whether this record is better than “Super Sharp Shooter” but it’s totally different to nearly every d’n’b record that has been made before or since.

The A side combines amazing crispy breaks, a sinister bassline that sounds like it was played on a giant radiator, and really breathtaking drum programming, together with some eerie samples of wind and swordfights from a Japanese film. The end result would clear a dance floor in about 2 seconds but stands out as a really brilliant and atmospheric piece of music that just draws you in. Plus you can play it to your drummer friends and watch them weep like children. The B-side is more minimal and features some idiot hitting a saucepan every few bars.

michaeldee

michaeldee

August 18, 2003
edited over 7 years ago

Definitely the best Photek tracks ever produced. With "Ni Ten Ichi Ryu" every little sound just falls into place and together they form a powerful & energetic track. Same with "The Fifth Column". A bit more minimal but just as powerful with a sharp clean cut beat and dark, atmospheric background samples.
snakestyle327

snakestyle327

April 3, 2003
ni ten ichi ryu is a very clever drum n bass tune which focuses almost totally on the rhythm. the bass line is half way between being melodic in it's own right, and being an additional percussion sound.
together with short vocal samples and sword clashing sound effects, it becomes like a musical diagram of a japanese martial arts form.

fifth column - another intelligent beat-scape of a tune with a shakuhachi flute sample in the middle reminiscent of japanese "noh" theatre.
viima

viima

July 26, 2002

this is what drum'n'bass should be about!

excellent, changing, complex rhytms with simple but effective bass line.

very strong work, and proves how vital d'n'b can be.