Given the many yet indeed limited possibilities to handle a break (i.e. the selecting, chopping, setting, editing, reversing, rolling, filtering and the trifle more one can do), I sometimes marvel at the sensitive producer and butcher of beats, who turns grim necessity into sparkling virtue as he/she miraculously transforms repetitive rigidity into the wonder of drum and bass. One of those repeaters by conviction is Justin Birch aka B-Key, whose recent single Tempress / The Sign (both in alliance with Smyla) is the sole issue of discussion in this duodecennium’s final weekly revue and probably the fading year’s last musical challenge to the mind as well (I hear there were actually tapping contests of Tempress’ rhythm on B-Key’s bday party this Friday). Now it is late in the year and I’m not going to continue my lectures about the metaphysical meaning of jungle or the transcendental transcendence of silence, but let me state in all brevity that this late contribution to 2012 offers just about everything one can ask for: meticulously edited breaks mingling with tense yet tender atmospheres, and as the grumbling basses freely waft through space, the soundscape’s genuine interplay almost necessarily results in immense enthrallment. Especially Tempress comes along as if it was a classic already, and I strongly object anyone crediting this solely to the use of old school breaks and composition, as I continue to object those whose creed in teleology has left for deaf. But I am beginning to break my promise, so instead of another admonition why the world needs music like this, just my humble advice: get these tunes.
B-Key & Smyla- Tempress / The Sign (Mute:8 Recordings)
Lectures on the necessity of low frequency bass music: http://www.facebook.com/Subsphere