I’m always looking for that straight-up funky-ass no-bullshit jackin’ wonk groove… And it’s not always easy to find just what I’m looking for, but recently I was graced with a forwarded email from Klangekstase Records and was way too happy with the outcome. The email regarded Campbell’s new EP “Check It,” which came out early last month. All three of the original tracks on the EP (“Check It,” “Make It Bump,” and “Slush Puppy”) fulfill exactly what I’m talking about. When I listen to or even just think about these tracks, my mind becomes too boggled with excitement and fixation to even speak. And yet here I am trying to do so. The words that I can come up with to give you a picture of Campbell’s bouncy, bangin’ productions are: delicately juicy percussion textures; a REALLY fresh-sounding bass synth; long exhilarating breakdowns; very well-chosen samples such as those in “Slush Puppy” that are from the Beastie Boys’ “Body Movin’.”
The remixers on the Check It EP all deliver fun, crafty work as well. I’d like to point you towards Whack Flava’s “Check It” remix in particular.
What’s hotter than hot???
You guessed it… Breakdown.
The Breakdown boys are coming at you with a new mixtape to mark the spring equinox.
“With 2011 well under way, Breakdown’s latest mix is here. This thing is packed with a scorching hot track list and will burn the hairs right out of your ears. Lets hope the fire marshal doesn’t get wind of this thing too quick, cause you know he wouldn’t be happy about this fire!!”
I gave it a listen myself and there is definitely some gnarliness going on in there. Starts out with some feel-good disco-electro, explores some darker, hell-raising wobbles by 6 minutes, and by 16:00 it’s just pure sex, and there’s no going back.
I’m not entirely sure if this is a going to be a regular thing knowing me, but it was fun to do up a quick type treatment and its nicely equipped with a bit of alliteration. I’ve got a couple of soundcloud discoveries, some offering downloads, others without. I’m going to keep things simple — short blurb and a Soundcloud embed.
First up is a huge bassline track from one of our writer’s, Crunch Theory. This one is quite the monster!
Riot Reaction = Cracker Jack + D’stinkt.
Swerve is 16. This is his first attempt at jackin’ house. (Please check out his other tracks on soundcloud. Kid serves up some real chunky fidget)
Rubberteeth got a chance to remix Filthy Rehab. Boing!
Oliver Twizt smashes Bubba Sparxxx. The whistle portion at the very end is straight kill.
Meet Claire Bradford. (I urge you to check out her soundcloud..she has recently posted some remixes for WoNK and Kid Komas. Talk about killin it!) She is the mastermind behind the ever-so-fidgety record label, Bone Idle Records. And in case you haven’t noticed, I’m a big fan of their stuff and will continue to support their awesome collective of artists.
Here is a little background information on the wonder woman from Brighton. Carbon Parlour hit the highs when her 2008 track ‘We Would Like’ saw a release on the revered Jack Union Records. The creation of We Would Like also saw a switch in production styles for CP who previously found herself firmly working the Electro and Breakbeat camps. Her early influences of Digitalism, Justice and Evil Nine worked their way into the studio but she soon found a need to find her own style and this was soon answered when she heard her first Solid Groove track. With a love of big bass, big beats and looped samples she soon started working on an unknown piece of music that within a day worked its way into the giant We Would Like track that eventually made Charles Feelgood’s must buy list on Beatport.
Carbon Parlour has releases on Jack Union, Baboon Tunes, Finger Tache Records, 2 Bubblin’, Big Alliance Records and a debut EP on Bone Idle.
CP sticks to her jackin’ house style on all three tracks with a very strong opening production. Flipside has gained huge support on Soundcloud, most played most loved and most wanted on her page. This track leads on its strong beat which has been cut up to give tiny fragmented bouts of silence giving it the jackin’ style we know it for. Flipside uses short bursts of vocal mixed with a strong low end bass that throws the dancefloor into a shape throwing frenzy.
Box 1 is slightly darker than Flipside and warrants a serious listen, however its status in the mixtapes shows its a strong contender for second place. Taking a slightly crudded, scratched up counting sample, throwing it over a siren synth layered with vinyl affected beats, and then mashing it all together, CP works to provide another jumped up sample cruncher.
Finally, Calibre requires a cigar and some serious head nodding. This track focuses on its use of beats, layered claps, dutch snares and thudding kicks. CP heads deep into her audio bank here and comes up big with some fine audio chopping. Small snippets of vocal bass and percussion make Calibre a fidget funk fest!
Ricorb is oozing with talent. His unique and diverse blend of cross-genre sounds place him high in my list of up-and-coming producers. I’ve dabbled with other genre’s in my short-lived production career, but have never achieved such prowess over the stereo space. His unique take on Jam City’s ‘Magic Drops’ opened my eyes to a squelchy and bubbling take on drumstep. The bassline guzzles you right up, spitting you out front row and center to the world’s first bass-driven slurpee machine. This wonky and broken track, seemly classified as ‘Dribblestep,’ might just send you on a bender. Or, it might have you cross-eyed in front of a mirror, as you ask yourself, ‘How did I get here?’ I’m not sure whether to bust out a mean two step, or to melt into a couch whilst sippin’ on some real proper lean. Dare I say the sounds are a bit silly? Perhaps I’m into that. Perhaps you are too?
His latest track, entitled ‘UK Gunky’ is somber and creepy, but it’s progression reveals that there is more to the journey than just heavyhearted, wandering synth trails. There is a light at the end of the tunnel after all, and it’s emanating confident portions of bass!
And this last one was revolutionary for me. I’ve known about Squire of Gothos for awhile — their intensely off-kilter and wonky wobbles didn’t resonate with me until I willingly dove into fidget. Anyways, Ricorb took this beast, flipped it, dipped it, and revealed one of my favorite dubstep tracks of all time. Just wait till 3:04 when the BPM drops and shit gets real gangster, REAL FAST. Get low girl, get low.
A track doesn’t get much more gangster sounding than that. I mean, c’mon, ‘Cakes & Jewelry’? (If you’re scratching your head at this point, perhaps you need to enlighten yourself — see definition 2.2). You know ma boy Sean Taylor is gonna be comin’ hard with a song named like that. It’s reinsuring to know that in a small genre that has long since left the spotlight, that some people are still out there keeping things alive. Sean keeps it wonky, and boy does he know how to bend some pitch and chop some vox! This track isn’t heavy on a wobble, its rather funky actually, making this some really fun and danceable stuff! Lots of bounce and a bassline that will get you bobbin’ head in no time!
Next up, a track that threw me about 2 years back in my earlier days of fidget. That abundance of bendy bass hitting you from every side of the stereo-space is reminiscent of Clark Able’s early work (and hey, Crooker’s still does fidget — Bumblebees anyone?). This track is straight dumb. The good kind of dumb. The dumb that makes you do this face, and whip your hair back and forth.
(SAN FRANCISCO, USA) March 10th, one of nightlife’s most respected forces beckons you to join in the ruckus for 15,000 square feet of big room boom. After selling out SF ultra club Ruby Skye for the unleashing of Swedish mega duo, DADA LIFE, the monsters at TORQ SF once again commissioned 420 Mason Street to let loose Australia’s premiere live electro show, VANDALISM.