I'm still hesitant with vocals, but after hearing the Honest Jons + Mark and Moritz's Basic Replay comp I was sold on digital production methods, heck, more than - enthralled. My boredom with contemporary house and techno has led me more and more into dubstep realms without ever being quite sold, but these earlier strands of bass heavy digital Jamaican sounds have become very appealing.
The whole package of Soul Jazz Records' Invasion of the Mysteron Killer Sounds is enticing, particularly the focus on hitherto critically disregarded digi riddim tools, as highlighted in the cheesy sci-fi ad emblazoned full page on the back cover of July's The Wire:
Invasion of the Killer Mysteron Sounds brings together the most exciting electronic producers in Jamaica with current sound artists in the UK and beyond who all create music based on revolutionary sounds in 3D – Dancehall, Digital and Dub.
The Wire went on to review it finding it simplistic and lacking in this exposed, unmixed format, but I find the very nakedness what makes it so weird and appealing. The oddball pinball bleeps and clunky computer basslines are thrilling from the get-go with Steely and Clevie's 'Streetsweeper':
Highlight is King Tubby's 'Fat Thing' riddim, much better without the vox.
The contemporary tracks are good, but like contemporary Chicago house remakes lack the historic roughness.
As a taste of what's in store, get Tubby's Fat Thing Version here.
Shamelessly uncritical and promo-heavy this post, but jeez its good. Listen more and buy here.
Whats not ruff about that last track???
ReplyDeleteIts a good un' no doubt, but there's more thought and preparation that's gone into it, a (necessary) awareness of all that's come before, whereas those originals are blind trailblazers with little sense of playing by any rules. I chose the Harmonic 313 track though because it's the best of the new contributions (although frankly not a dud on the whole collection)
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