Future Bass (Soul Jazz Records)
Through revealing tunes unknown and providing a subtle education, Soul Jazz records have the pedigree when it comes to producing top notch compilations. Earlier this year they released the brilliant Deutsche Elektronische Musik: Experimental German Rock and Electronic Music 1972-83 which, in its scope and nice little booklet, underscored my fondness of the likes of Neu!, Harmonia and La Düsseldorf, as well as informing me of a range of bands that I only had tangential knowledge of. As I never got round to reviewing it all I can say is that you should get it. Here’s a tune from it:
Conrad Schnitzler – Auf Dem Schwarzen Kanal
Now, putting ‘Future’ in the title of an album is dangerous – visions of future anything can often be a huge letdown and fall short of what you hoped for, particularly when it comes to music. Future Bass avoids this pitfall through providing an astonishing catalogue of the present prospects for all things machine driven.
We’re in the territory of post-dubstep again, but here that slippery and still open to interpretation phrase seems somehow imperfect. There’s still some massive wobble (on Ginz’s ‘Boss’ especially), but the bass is used in such a diverse manner that dubstep seems to be receding in the creative visions of these producers. For example, Four Tet’s ‘Nothing To See’ makes no real reference to dubstep in its tech-house shuffling and layered and constantly evolving beauty (it’s unmistakably Kieran Hebden).
What really pleases the ear on Future Bass is that a dance floor heritage and understanding has not been lost in the race to trace out something different and challenging – a drop here and a nod to rave there and suddenly you’re frugging and air-shaping like a de-shirted sweaty twat.
This is the best electronic compilation I’ve bought this year and I doubt it will be bettered. Go buy here.
Ramadanman – Bass Drums
LD – Mastermind