Classically trained in violin, he dropped this for drums and began playing in various bands, before finding early Detroit techno and house. His inspiration around that time is said to wander around the likes of Kenny Larkin, Carl Craig, Juan Atkins, the Orb.
His brother introduced Calibre to drum and bass and jungle, which at first he couldn’t follow the pattern as he felt it was too relentless and 'beaty', and so at that point he preferred four to the floor drumbeats from the US house style.
From there he's developed on slowly but surely to become an accomplished producer.
Since his early work for Dublin label Quadrophonic in 1998, Calibre has always delivered a sound that delves below the all too often unsatisfying drum and bass surface.
His ability to bring a warm, natural feel to the digital landscape of drum and bass raised interest from Radio 1's Fabio, leading to a critically acclaimed double album in 2001, entitled 'Musique Concrete' released on Fabio's Creative Source imprint.
Since then Calibre has released for labels such as Soul:R, including collaboration work under the Mist:i:Cal moniker with the Manchester duo Marcus Intalex and ST Files (together MIST). Other label contributions have included CIA, 31, Defunked, V and Critical.
Remixes have also been a heavy outlet for Calibre, with commissions from the likes of High Contrast, Badmarsh & Shri and american R&B-singer Jaheim, to name but a few.
In 2003 Calibre's own vision, Signature records, has come to light. This imprint is the home for his own prolific studio output, offering an unprecedented freedom to experiment and release music on his own terms. Calibre's project with ST Files under the St.Cal moniker saw its first release on Soul:R in September 2004 with 'Red Light/Little Man'.
2005 has truly been the year of Calibre. Spending less time djing and more time in the studio he was able to finalise his second album, entitled 'Second Sun', the first for his label Signature.
2005 also marked the return of the St.Cal production partnership with their 12" 'Losing Ground/Henshaw Dub' on Soul:R. This was a first taste of the forthcoming Mist:i:cal LP project which is being worked on at the moment. The LP will feature tracks from Marcus Intalex, ST Files and Calibre in their various combinations and is due for release on Soul:R.
ANTIDOTE
Calibre Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
the shot - i need the antidote - shot - gimme the antidote
the shot - i want the antidote - i guess i need a lot
i guess i
this is a f**king addict - where you bring on designer dearth
it comes an' breeds dependency just about everywhere
ah hell, then you set up a factory
f**k yeah - you're leaning on the going rates
the keeper of the code, the filter at the gates
you play a crystal part in throwing off the weights
and every passive monitor collaborates
transistors are asphyxiant
the screens are blistering like they're effervescent
these agents have a go at... at the gathering
of raw radiation poisoning
(chorus)
this is f**king traffic - where the factory lines engage
where the moral men don't ever get to centre stage
where the artery feels like it is not
and then they pack you with a phat shot
ah yeah - there's death on the wind again
countless anarchists addicted to arrangement
syringe, the shot, the right dose of the product
and then they beat you till you're comatose
the quintessence of diligence
nothing more compulsive than my common sense
you got to beat the doors of liberation
on and on and on and on an
tacit subordinates - with your dismal pamphlets
why even post the bills - f**k that, these are poison pills
the settler sets the scene - it's filled with atropine
turns out that all is counterfeit - i waste your f**king hit
the shot - why not become the poison - shot - that bears the antidote
the shot - why not become the poison - antidote
In Calibre's song Antidote, the chorus is pleading for the antidote to the shot. The song takes an ironic approach towards the subject of addiction. It talks about how addiction is fostered by the supply of drugs and the people behind controlling it. The lines "this is f**king traffic - where the factory lines engage, where the moral men don't ever get to center stage" suggest that addiction is often fueled by the system, where people at the top control the supply and demand of drugs. The song implies that there is a need for an antidote to cure society of addiction.
Furthermore, the song suggests that the "poison" is the antidote. The lines "the shot - why not become the poison - shot - that bears the antidote, the shot - why not become the poison - antidote" suggest that to cure addiction, society must become like the "poison," meaning that the system that controls the drugs must become the antidote. In other words, those who control drug supply must become responsible for providing a way out of addiction.
In conclusion, the song's lyrics suggest that addiction is a vicious cycle fostered by the system. It calls for a change in the system and for those who control the supply to also be responsible for providing a way out of addiction. The lines "the shot - why not become the poison - shot - that bears the antidote, the shot - why not become the poison - antidote" encapsulate the entire message of the song.
Line by Line Meaning
the shot - i need the antidote - shot - gimme the antidote
The singer is addicted to a drug and is in need of a cure. They ask for the drug and the cure, indicating their mixed feelings about the situation.
the shot - i want the antidote - i guess i need a lot
The singer expresses a strong desire for the cure, but recognizes that they may need a significant amount in order to overcome their addiction.
this is a f**king addict - where you bring on designer dearth
The singer is describing a situation where addiction is common and almost encouraged, with a particular focus on the role of drugs in the fashion industry.
it comes an' breeds dependency just about everywhere
The artist acknowledges that addiction is a widespread problem that affects many people in many different contexts.
you hand out on the free shots to cover me, 'n' hover me
The artist suggests that there are those who enable addiction, perhaps by providing free drugs, and that addicts may feel protected in this environment.
ah hell, then you set up a factory
The singer implies that the addiction industry is intentionally designed to keep people hooked, with a clear focus on profit rather than on the well-being of individuals.
f**k yeah - you're leaning on the going rates
The singer expresses frustration with the way that addiction is normalized and even celebrated in some circles, suggesting that there is a clear market for drugs that is being exploited.
the keeper of the code, the filter at the gates
The artist alludes to those who control access to drugs, perhaps medical professionals or regulatory bodies, implying that their decisions have a significant impact on addiction rates.
you play a crystal part in throwing off the weights
The artist suggests that those who enable addiction are complicit in the harm that it causes, perhaps by downplaying its risks or ignoring its consequences.
and every passive monitor collaborates
The artist implies that those who observe addiction but do not take action to address it are also contributing to the problem, either out of complacency or fear of repercussions.
transistors are asphyxiant
The singer uses technical language to describe how addiction can suffocate a person, likening the experience to a lack of oxygen caused by a malfunctioning device.
the screens are blistering like they're effervescent
The artist describes the negative impact of addiction on both physical and mental health, suggesting that it can cause discomfort and pain that seems to bubble up from within the body.
these agents have a go at... at the gathering
The singer suggests that those who profit from addiction are actively pursuing new customers, perhaps through marketing or other strategies designed to increase demand for drugs.
of raw radiation poisoning
The singer alludes to the serious health risks associated with addiction, implying that it can be as deadly as exposure to radiation.
this is f**king traffic - where the factory lines engage
The singer describes the addiction industry as a kind of industrialized process, suggesting that there are clear production lines and a steady flow of drugs that is difficult to resist.
where the moral men don't ever get to centre stage
The artist laments the fact that those who are opposed to addiction or those who wish to do the right thing are often ignored or marginalized in the context of the addiction industry.
where the artery feels like it is not
The artist suggests that addiction can make a person feel disconnected from their own body or their own sense of self, perhaps referencing the way that drugs can alter mood and perception.
and then they pack you with a phat shot
The singer implies that addiction can be a violent and forceful experience, perhaps referencing the way that drugs are often administered without consent or against the will of the user.
ah yeah - there's death on the wind again
The singer alludes to the serious risks associated with addiction, perhaps referencing the way that some drugs can be fatally toxic or cause other serious health problems.
countless anarchists addicted to arrangement
The artist acknowledges that addiction knows no bounds, affecting people from all walks of life including those who might seem unlikely candidates for drug abuse.
syringe, the shot, the right dose of the product
The artist highlights the tools and processes involved in addiction, emphasizing the way that drugs are often administered using needles, syringes, or other paraphernalia.
and then they beat you till you're comatose
The artist describes the physical toll that addiction can take on a person, suggesting that it can leave them unconscious or unresponsive to the world around them.
the quintessence of diligence
The singer employs lofty language to suggest that addiction is a kind of intense and dedicated pursuit, although in reality it is a destructive and pointless habit.
nothing more compulsive than my common sense
The artist reflects on their own addiction, acknowledging that it has become an all-consuming force that they find difficult to resist or control.
you got to beat the doors of liberation
The singer suggests that addiction can be overcome, although it may require a concerted effort to break free of its grasp and find a different path in life.
tacit subordinates - with your dismal pamphlets
The singer mocks those who try to prevent addiction by distributing informational materials or pamphlets, suggesting that their efforts are inadequate or unhelpful.
why even post the bills - f**k that, these are poison pills
The singer suggests that advertising or information campaigns surrounding addiction can be misleading or even harmful, perhaps by glamorizing drug use or failing to provide adequate warnings about the risks involved.
the settler sets the scene - it's filled with atropine
The artist suggests that the societal context in which addiction takes place is also important, and that factors such as poverty, trauma, or social inequality may contribute to the prevalence of drug abuse.
turns out that all is counterfeit - i waste your f**king hit
The artist reflects on the false promises of addiction, suggesting that the high or other benefits promised by drug use are ultimately illusory and that the experience is ultimately pointless or even damaging.
the shot - why not become the poison - shot - that bears the antidote
The singer suggests that the cure for addiction may actually lie within the addiction itself, perhaps by using drugs to wean oneself off of other substances or by finding a way to address the deeper emotional or psychological issues driving the desire to use drugs.
the shot - why not become the poison - antidote
The singer continues to explore the idea of turning addiction on its head, suggesting that it may be possible to use drugs in a way that actually helps to counteract the negative effects of addiction over the long term.
Contributed by Anthony P. Suggest a correction in the comments below.
yves Bogaerts
In mijn ogen had dit toch wel ongetwijfeld één van de beste metalbands kunnen zijn van België!!! Ik hoop dat deze ooit terug zullen komen. Laat ze, zoals Channel Zero, na 15 jaar een comback plaatsen en hen van de kaart vegen ;)
Guido Daelemans
Dan gaan ze toch eerst een zanger met een kleiner ego moeten zoeken...
Luke
Been looking for this for a long time!
tjoef1992
Strakke schijf!
Remi Demelenne
waw old souvenir from AB Café !!!