Almost every release from this era still has its fans up to this very day and you can hear DJs play these tunes out across the clubs and festivals worldwide. Despite the outstanding number of tracks being produced by NOISIA, the quality of their output was set sky-high. But that didn’t mean Drum & Bass releases would stop by then, there were still coming in hot, such as “ Exodus” in collaboration with Mayhem and the legendary MC KRS-One. That inspired them to start their new Division Recordings label in 2007 dedicated to the other genres of electronic music, starting off with a debut single “ Yellow Brick/Raar”. They’ve also released their first house track as NOISIA called “ Gutterpump”. They’ve also released their first breakbeat EP entitled “ Lekker”, for the first and also the last time under their Hustle Athletics moniker. In 2006 their unstoppable streak has continued with releases on their own Vision imprint, a bunch of singles for RAM Records “ Facade/Moonway Renegade”, Virus Recordings “ End Game/Unveil”, Subtitles Music “Shower For An Hour/ Moon Palace” in collaboration with TeeBee and remixes of “Painkiller” by The Freestylers and Pendulum or another 80s classic “Sweet Dreams” by Eurythmics. There was no hiding away from NOISIA and in a couple of months, the whole Drum & Bass world knew about them and the 3 boys who have released their first music just 2 years prior to that were in over their heads. And on top of that, they’ve managed to start their first own label, Vision Recordings, which they’ve opened with “The Tide/ Concussion” single. They’ve officially remixed Konflict and their Drum & Bass “ Messiah”, they’ve bootlegged a synth-pop group Visage and their hit “ Fade To Gray”. They’ve also collaborated with the scene’s heavyweights Bad Company, but also with some fresh names of the upcoming generation of artists like their compatriots Black Sun Empire, New Zealand’s The Upbeats and German (back then still a) duo Phace. More singles under their Drifter moniker – “Come True/ Leola” on Horizons Music and “Close To Me (Matrix Remix)/ She Gives Me Forever” on Timewave Audio. Singles on Shogun Audio and Renegade Hardware, EPs on Subtitles called Monster and their legendary Block Control on Moving Shadow. Their truly break-through year came in 2005. In just a year they’ve managed to debut on one of the genre’s seminal imprints of that era, Subtitles Music, ran by Norwegian DJ & producer TeeBee with “ Hubcap/Backdraft” single. In February of that year, they’ve finished their first Drum & Bass track “ Tomahawk” in collaboration with US producer Mayhem.
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Their joint venture was set up in 2003 when Nik and Thijs got Martijn aboard. But let’s not get ahead of ourselves and get back to the square one. And also a project which despite their announced breakup will most definitely still be influencing the evolution of the temporary electronic music in the upcoming years through its individual members. Beside their very own Drum & Bass imprint Vision Recordings, NOISIA also set up a non-dnb Division Recordings and an experimental/alternative Drum & Bass imprint Invisible Recordings. And last, but not least, a project which as one of the first gave birth to their own label. A project which went against the grain and united all their output across the different (sub)genres under one moniker (now who still remembers Drifter, Hustle Athletics or Frizz?). RAM Records, Renegade Hardware, Moving Shadow, Shogun Audio, Subtitles Music, Virus Recordings, Quarantine, Metalheadz, you name it…and the list goes on.
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A project which from their infamous “what’s a reese?” question posted on the Dogs On Acid’s production board went on to release on basically all the seminal labels. Thus NOISIA was born.Ī project which in nearly 20 years of its existence managed to get into the heads of all Drum & Bass fans with no exceptions. In the beginning of everything, there was a vision…or to be more precise, an inscribed “VISION” videotape which was put into the recorder upside down by mistake. In the history of Drum & Bass, there are hardly any names we could say helped to shape the genre as much as this Dutch trio.