Future Funk is more than just the label behind Insom’s new single; it’s a way of life for the Athens based producer, and obviously his credo when it comes to making music: Light-footed, groovy and controlled as ever are the two tracks Mint Engraver and his remix of Myselor’s The Last Melody; the first a sticky charger that constantly prances upon a rhythmic monad, the second the vigorous resolution of a dreamy melody, both absolutely worth checking out.
Insom – Mint Engrave / Myselor – The Last Melody (Insom Remix) (Future Funk)
From Greece we jump to Spain, where Sevilla’s centre of information processing Larrge prepared yet another two stop-and-go adventures of our hero, the bass. Those already acquainted with the enormous amount of input usually served with a Larrge tune will have no difficulty appreciating his newest works Inner and Involve – they may indeed even feel a little under-challenged by Inner’s perpetual drum snaps and sub-wobbles that make it almost easy to follow the protagonist bass wherever it appears. Those however not already familiar with Larrge should strive to become: The moment when one finally manages to get into Involve is worth the effort.
One of the rare victories of composition over production was recently achieved by Double Helix, whose debut single on Deep Field Audio is a fine example of the Austrian producer’s skill in modern electronic chamber music. Consequently, the two tracks take up the delicate vibe of a rather furioso string quartet and melt it with the raw Neurofunk energy the likes of Ed Rush and early Noisia – influences that become apparent in the pounding assets of Wellenkammer with its variations on a classic half-tone theme and especially on the more laid-back groove pressure flipside Delusion, which sounds a bit like Brain Bucket’s baby brother. I said composition over production, because unlike most electronic music out there, Double Helix’s premier oeuvre is not solely relying on its thickness but offers a great deal of structural and compositional variety, or in other terms: just the right amount of movement. So if you’re into organic basses and techy drive, but not especially keen on the forceful cracking of your precious ear bones, you will most likely enjoy both sides of this appetizing debut.
I like Thing. True, some of his tunes turn out a little empty (philosophically speaking) if you’re not in the right mood, but time and time again he delivers a tune that has just the right balance of trance and urge, hypnosis and drive. Such a bringer of almost divine equilibrium is his newest epos Backup; and while basically all his tracks engulf with their deep basses, this one really takes you in the field. How so? Part of the trick is done by the propelling bassdrum pattern and its microscopic percussion embellishments around which the track circles. Another aspect is the mystic and slightly eerie atmosphere that envelops the occasional sweeps and metallic crescendos. Then of course there’s Backup’s astonishing overall movement, giving it just the perfect feel of progression; and also the bonus factor that it sounds a bit as if Phace & Noisia’s Stagger had been a Rockwell tune. The rest, however, remains hidden in Thing’s secret ingredient mist of magic and thus adds just the right amount of occultism to round out the masterpiece. The flip Roidizer can’t really keep up with that massive mystery machine, but -in short- is not bad. But as you definitely should be going after Backup, you might as well take the whole package.
Thing – Backup / Roidizer (Dubthing Records)
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