Creativity Quote by Tom Jenkinson

Jenkinson is describing a nerdy-sounding production tweak that’s actually a small manifesto: take a genre built on machine precision and re-stage it with human bodies. Drum and bass is historically inseparable from the grid - sequenced breakbeats, surgically edited kicks, basslines that behave like software. When he says the record uses “similar sort of rhythms” but “playing it all live,” he’s not just switching tools; he’s challenging the implicit contract of the style. The point isn’t to imitate drum and bass. It’s to translate its logic into a performance language, where micro-timing, fatigue, and physical limitation become part of the sound.

The hesitancy in his phrasing (“sort of,” “similar sort of”) reads like an artist refusing to oversell novelty. It’s also a quiet flex: live replication of those rhythmic architectures is difficult, and he knows it. That understatement is very Jenkinson - technical ambition presented as casual curiosity, as if virtuosity is just a byproduct of tinkering.

Culturally, this sits in a recurring electronic-music tension between authenticity and artifice. For decades, “live” has been treated as a moral upgrade, a way to launder machine music into rock-era credibility. Jenkinson’s angle feels different: not “look, we can do it without computers,” but “let’s see what breaks, bends, and mutates when we force these hyper-modern rhythms through muscle memory.” “It’s a new approach to it” lands as both modest and pointed: innovation here isn’t a new plugin, it’s a new relationship between precision and presence.