Showing posts with label technobass. Show all posts
Showing posts with label technobass. Show all posts

Monday, March 27, 2023

_Nyquist - Sonic Periapsis

Intellitronic Bubble: 2020

Not as prolific an artist as I initially assumed, but that's only because when I first came into contact with _Nyquist, he definitely was a prolific artist. Or at least, about as prolific as one could be releasing multiple records with Lee Norris over the span of a few years. When the two finally committed some tunes to the LP format in Synchronized Minds, it looked like they'd keep that momentum going for some time still. I guess Lee got side-tracked with his usual multitude of side things (label managing, other collaborations, life issues), leaving the man behind _Nyquist – Frank Rumpelt – to pursue other interests in that time. Most of these were as different aliases exploring other sounds than techno, a tradition as old as... well, as long as there's been electronic music, at least.

Before that though, he did release a solo _Nyquist album, this here Sonic Periapsis. In typically odd fashion, it was bundled in one of Intellitronic Bubble's double-LPs, paired with The Shape's Waveshape Fiction, who is... well, I won't say just yet. Regardless, this isn't such a bad deal when you're dealing with physical mediums, but the download of this release doesn't separate the two albums. I technically should be reviewing both right now, but adherence to alphabetical OCD compels me to postpone The Shape's album for whenever I get down to the 'W's. Anyway, it seems a moot point now, as Frank recently uploaded the album on its own to his Bandcamp page. See, it pays to be two-to-three years overdue in covering new releases!

Mr. Rumpelt doesn't waste any time letting us know what sort of music we're in for with Sonic Periapsis. A simple electro rhythm, a little chunky acid bassline, and soon enough, we're cruising retro-future streets, passing sleek chrome vehicles in search of cyberpunk hangouts for some cyborg break-dancing action. Some tracks get more on that pure Detroitism (Micro Expression, Mydentity, Electric Rain), some maintain the electro acid fonk (Abstract Mind, Velocity Vector, SCIPRIDC), and Sudden Void sets off some of my trance triggers, despite most evidence pointing out it's not trance. Tack on a requisite chill tune at the end with Time Safari, and you have... whoa, wait a minute! D'at bass! Damn, does Time Safari ever remind me of some of those old 'audio bass' tunes from the '90s.

Come to think of it, Sonic Periapsis has quite the technobass vibe going for it overall. Yeah, there isn't much of a leap from that genre to Detroit techno and electro, but hearing some trunk-rattling basslines out of a label that isn't quite so known for it, well, that tickles my fancy. Or maybe Intellitronic Bubble does, and I simply haven't heard it yet. I have picked up a bunch of their compilations, but they're titled as numbers, I won't be getting to those until I wrap around again. And given my current pace, that won't be until... 2025? Ha-ha, no, I'm that tardy with this blog. I hope...

Friday, July 20, 2018

Tipper - The Critical Path

Higher Ground: 2000

(A Patreon Request from Omskbird)

Despite it soon dominated by *those* basslines, there's a reason why nu-skool breaks was briefly considered among the cutting-edge tuneage in electronic music: producers were eschewing traditional standbys like sampling and bigging-up the beats in favour of cribbing technical innovations from the IDM camps. Micro edits! Digital scratching! Glitchin' that shit up! Of course, by the time the nu-skoolers had gotten their mitts on these toys, the IDM world had long moved on, but it's not like the IDM and breaks scenes would ever cross-pollinate again. (oh hi, Venetian Snares)

Among those early innovators was Dave Tipper, a nu-skool hero for the headier heads (and a glitch-hop favourite when nu-skool became old-n-busted school). He never achieved the same level of commercial fame as other players in this particular scene (Rennie Pilgrim, Adam Freeland, that attention whore BT, who only dabbled in nu-skool but somehow took almost all the glory... *ahem*), but that's how his followers like it. Tipper is their guy, making music for their brain matter. Sure, it's nice you can find him headlining festival stages and all, but he's playing his music for their DMT trip. Why yes, I've had this conversation at the Shambhala Music Festival, why do you ask?

After a couple singles sticking to conventional breaks of the '90s, (big beat, acid crunch, trip-hop), his Twister record marked a sudden change in how his sound would carry forward. The Critical Path is the debut album that followed, and offers ample amounts of that nu-fangled take on the broken-beat. No samples of obscure funk, every piece of rhythm an original construct. Except maybe opener Seldom Vile, in that it at times reminds me of Aphex Twin's Acrid Avid Jam Shred. Hey, I told you nu-skool were aping things IDM had done half a decade prior.

At eleven tracks long, Tipper gets plenty of room to show off all the fancy nu-gimmicks in his computer arsenal, more than half the tracks varied examples of what breaks of the future might evolve into (before the 'tear-out' guys sullied it). This being the year 2000, he gets in a couple trip-hop cuts too, including Zero 7 favourite Sophie Barker on vocals. And what would a breaks album of that period be without a little Hybrid borrowing, a few tunes working in orchestral swells as well.

And the music itself? Well, if you like Phase 1 nu-skool, you probably already have this. It took me a little to get warmed to it myself, and there are portions where Tipper comes down with BT-itis, over-indulging the effects to ludicrous extremes (oh God, are they ever ridiculous in Last Informer - impossible to pay attention to Ms. Barker's lyrics with that much nonsense going on in the background). Overall, I was more impressed by Tipper's sound design than his songcraft, but so long as tunes like Twister, Sort Code, and Supersport have me imagining blistering down hyper-sonic race tracks through ancient temples and lunar colonies, mission accomplished, I say.

Saturday, September 24, 2016

Jlin - Dark Energy

Planet Mu: 2015

Dark Energy is the album every music journalist was anxiously waiting for, where they could finally show the world just how much they knew about the way-underground Chicago scene known as juke and footwork. For sure they had ample releases to draw from, but most of those were singles, compilations or mixes, items that just can’t fit in year-end Best Of articles, where the LP continues to dominate. No, they needed a proper album on the market to showcase all their knowledge of that particular scene, and Jlin’s debut was as good as any item for the task. I’ve barely come across a single review of Dark Energy that doesn’t start with a tedious, one-thousand word essay going on about footwork’s rise from Windy City obscurity to festival mainstage triumph, filled with tons of fancy, sophomore grammar and word salads describing the music. Dudes, it’s just fuckin’ dance music, with a sound palette no more intricate than ghetto-tech (sans the ass-n-titties) – stop over-analyzing this, especially something as primal and basic as juke.

Right, this style of music does have its complexity, in that its pure function is challenging groups of dancers in displaying their fancy footwork. And it seems music journos latched onto Dark Energy so syrupy because Jlin took the genre a bit further than that. A track like opener Black Ballet shows melodic touches with piano pieces, orchestral stabs, and chopped choir vocal complementing the rattling hi-hats, crisp snares, and thick bass – y’know, sophisticated stuff. Elsewhere, Unknown Tongues comes off like a screwy bhangra cut, Guantanamo has something of a message within its vocal samples (if you squint hard enough), while Ra almost contains a hook with its chippy manipulation of that particular word.

In fact, there’s a lot of chippy production on this album, which in of itself is part of footwork’s appeal as a dancefloor tool; challenging jukes and breakers with spastic bursts of snares, claps, and bass energy, making use of unconventional time-signatures, and such. Infrared, with its sharp synths and Mortal Kombat samples, has b-boy showdowns square in its sights. Black Diamond hits with that conga fury, and Abnormal Restriction literally takes the ‘screw’ idea of ‘chop-n-screw’ with abrasive mechanical whirring.

That all said, Jlin’s debut does get tiresome after a while. Eleven tracks that generally consists of *chik-chiki-chk clap, boom-boom-boom CLAP*, with little variation in drum kit sounds, begins showing the limitations of this genre. And while Dark Energy does show more dynamism than other rhythm-heavy ghetto tracks of scenes past, this is hardly the ‘music of the F-U-T-U-R-E’ many highfalutin critics purport it as. Yeah, Kanye will undoubtedly soon sample it, though more to prove he still knows the pulse of Chicago streets, yo’ – dude would sample gabber if he felt it’d improve his production rep. Still, if you’ve been on the fence about footwork, Dark Energy’s a decent entry point into the scene– like, anything Planet Mu has no problem promoting can’t be all bad, can it?

Friday, November 20, 2015

Scuba - Sub:Stance

Ostgut Ton: 2010

Sub:Stance may as well be the turning point of Scuba's career, going from dubstep darling to tech-house tease. True, the hints didn't come to fruition for another couple years after this CD, but the very fact he's palling around with Ostgut Ton, they of Serious Technos Only acts like Surgeon, Shed, Klock, and Dettmann, had to give some signs of his future developments. Okay, there’s also the nugget of Mr. Rose hailing from Berlin, thus likely having ties with the Berghain posse regardless. It’s a pairing that was all but inevitable, what with Scuba's early techno dystopian approach to UK bass music.

What I find most interesting is that it was with Ostgut Ton that he made his commercial DJ mix CD debut in the first place. Why not do it on his own Hotflush print? Too many licensing issues? A friendly favour? Come to think of it, most of his mixes have been online efforts (podcasts, streamers, Boiler Room rinse-outs), this and DJ-Kicks about all he has for hard copy options (and a Mixmag offering, but who cares about those). Maybe he’ll do a Balance or fabric one soon, since he’s all about that house now.

In 2010 though, Mr. Rose was still mixing in the heady post-dubstep tuneage, with many of the trendy names of the time getting a look in. There’s Sigha, Pangaea, Shackleton, Mount Kimbie, James Blake, and Joy Orbison, including his one big track everyone wouldn’t stop playing back then, Hyph Mngo. Man, looking at that list, it’s like reading a super-hip indie write-up from back then, dropping names and proclaiming this is the future of music, forward-thinking while honouring the past’s influences. Dubstep was moving on from its inner-London roots, ready to take on all urban locales with techno hand-in-hand, Scuba seemingly ready to play the part of lead and general. Then a Skrillex happened overnight and changed everything. Oh well.

Meanwhile, Sub:Stance does a good job of providing various rugged rhythms and deep basslines. Scuba runs the gamut from minimalist dub (Sigha’s Early Morning Lights, Badawi’s Anlan 7) to UK garage nods (Joy Orbison’s two cuts, George Fitzgerald’s Don’t You), and technobass beasts (Surgeon’s Klonk Pt. 4, Untold’s No-One Likes A Smart Arse, Intra:Mental’s Voyeur), with plenty of abstract broken-beats spread throughout (James Blake’s rub of Mount Kimbie’s Maybes, Ramadanman’s Tempest). As with his DJ-Kicks set, the mixes are quick and surgical, tracks seldom lasting longer than three minutes with only their key features utilized. No sense dawdling on repetitive loops and pointless drum programming, right?

Another similarity to that future mix is ending with an unabashed, hands in the air anthem, in this case Joker’s Psychedelic Runway. Given how heads-down and dark Sub:Stance generally is, it’s shocking hearing such garrish synths and cock-rockin’ rave riffs set to a standard dubstep break. Though considering Scuba ended his Boiler Room set with Madonna’s Vogue, I suspect he can’t help but go for the cheeky climax every time. I will always approve of such shenanigans.

Wednesday, March 11, 2015

Instra:mental - Resolution 653

Nonplus Records: 2011

As the '00s drew to a close, duo Alex Green and Damon Kirkham were gaining themselves a solid rep in the drum 'n' bass scene as Instra:mental. It certainly didn't hurt they found collaborative work with tech-step veterans like Jonny L and Source Direct, nor finding a home with trendy upstart labels like Nonplus Records. Then they found another future-looking kindred spirit in D-Bridge, set up their own Autonomic label, and pretty much created a whole new sub-genre within 'deebee's already convoluted mess of micro-genres. Despite being short lived cul-de-sac of a style, that's still a mighty impressive accomplishment in a scene filled with many one-off dead end attempts at new directions. Has there ever been an official name for the Autonomic sound? Eh, whatever, I'm still calling it microfunk because... reasons (hint: look in one of those Twitter links to the right).

With all that musical momentum behind them, a proper full-length album was inevitable from Instra:mental. What sort of music would they venture into? More of that tasty microfunk business as heard on their FabricLive 50 mix? A return to the jungle they built their early career on? Maybe some further venturing into post-dubstep’s experimental realm? Nah, none of that, guy. For their debut LP, Instra:mental set out to do nothing less than a pure Detroit techno homage, d’n’b fanbase be damned.

It shouldn’t have been a surprise, as their Nonplus singles skewed that way as it was (heck, the whole label does). Still, they kept one foot in the UK’s bass scene, familiar ground for those who’d wandered in from jungle’s realm. Resolution 653 has almost none of that, dragging the listener into 313’s domain of electro, techno, and its various permutations. That includes a little of that post-dubstep sound (Thomp, Rift Zone), which often took audio cues from Detroit’s lineage. Mostly though, we’re dealing with broken-beat futurism (Sun Rec, Arc, Love Arp), Hawtin-plonk minimalism (8, Talkin’ Mono), renegade warehouse techno (Aggro Acid, Delta Zone (Advance), Memory Implant), neo-Tokyo ambience (Waterfalls, Plok), and technobass (User). Holy shit, there’s actual old-school technobass on this album! Haha, Dynamix II represent! Yeah yeah, that genre was technically a Miami thing, but whatever – t’was southern bass heads doing Detroit, is all. And now London chaps too.

However, there’s a problem with Resolution 653. Well, two if you were expecting proper jungle t’ings from Instra:mental, but I sure didn’t. Hell, I wasn’t even aware of them when I first checked this out, only that they had this really neat looking cover art, and it was being billed as a collection of throwback electro. That said, folks well-versed in electro’s history likely won’t find much that’d have them abandoning their Anthony Rother records anytime soon. Instra:mental do the genre justice, and bring a couple tricks from their d’n’b pedigree, but for the most part they remain so fixated on Detroit’s heritage, it’s blinkered them from exploring any new avenues. And that’s disappointing for a duo that blazed their own paths leading up to Resolution 653.

Friday, May 23, 2014

Various - FabricLive.38: Craze

Fabric: 2008

*cover art brought to you by FabricLive's “Melting Material On Predators” period*

Hey now, what have we in our midst? A real DJ! Three-peat DMC Champion at that. Okay, competition winners aren’t that rare in FabricLive’s history, but the music DJ Craze’s plays here is one Fabric hadn’t ventured into: Miami bass! Haha, I bet the label figured he’d do another drum-n-bass or regular hip-hop mix, so props for Mr. Aristh Delgado for adding yet another notch in the series’ already eclectic assortment of genres. True, previous FabricLives occasional drop a tune or two inspired from the Floridian scene, but Craze’s roots run deep in streets among Ocean Drive, and he shows no qualms in using Fabric’s prestige as a love-letter to the city's musical innovations.

And why not? Miami bass and freestyle were thriving genres for a large chunk of the '80s and '90s, a melding of hip-hop and urban R&B utilizing Kraftwerk electro as the genetic backbone. So successful were these offshoots that they practically subsumed electro-proper altogether, one kicking off the bass music scene as its own unique entity, the other taking electro to the top of American dance charts long before anyone else did. Even as those scenes faded from popularity as the '90s wore on (folks grew weary of those Numbers samples, I guess), they maintained a faithful following in their native Miami, of which Craze undoubtedly grew up surrounded by.

That said, the first few tracks had me worrying we wouldn’t be getting that, two cuts from Cool Kida giving us a taste of... ketamine crunk? No, just no. Who even likes such sluggy slop like that? Craze does come correct with some real crunk in Bangers & Cash’s Loose (you know what they’re talking about), but dammit, this CD was advertised as old school. Give me the classics, mang!

Ask, and you shall receive, Craze making no bones about what this mix is showcasing once he drops the original Miami Vice Theme from Jan Hammer. From there, it’s the vintage booming south (Miami Jam Crew’s Pretty Girls; Lushus’ Ho Fo Sho; Fresh Celeste & M-4 Sers’ Give It All To Me), mint freestyle classics (Beat Club’s Security; Debbie Deb’s When I Hear The Music), and even tasty technobass (DJ Magic Mike’s Cutz The Record; DJ Laz’ Red Alert).

Smartly, Craze mixes things up with tunes from newer acts (Chromeo, Armand Van Helden, Blaqstarr, Switch) who definitely owe some debt to the groundbreaking and shaking bass work Miami’s pioneers accomplished. Ending everything off with killer ghetto anthems like Kid Sister’s Pro Nails (produced by Craze’s turntablist compadre A-Trak) and DJ Assault’s Keep It Pushin’ (with too many names on the remix), and FabricLive.38's a CD any self-respecting bass head should hear.

Was This Worth The Pennies Paid For It?
Miami bass isn’t for everyone (including the previous owner, apparently), but any set that throws technobass into the mix is an automatic win for yours truly.

Things I've Talked About

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