Are you growing weary of following what everyone else is doing? Have a penchant for condescension? Willing to take back years of hard graft slating your dad’s music collection to reap its potential ironic gold mine? Well buddy, you need a ‘scene’.
“But there are so many to choose from” I hear you yelp under the heavy cotton of that spiffing new checked shirt you’re struggling with. Nonsense. Nobody likes a niche-er. Swedish black metal and Doris Day revivalists are small fry.
What you need is an umbrella scene that covers so much you’ll be dining out on its potential avenues long after all those involved are working back at TK Maxx. I’m talking of course about upfront, forward thinking, future bass music. You can’t go wrong with upfront, forward thinking, future bass music. Upfront, forward thinking, future bass music is everywhere.
I personally love upfront, forward thinking, future bass music, but it is not without its flaws. The problem with something staking claim to upfront-ishness and forward thinking-icity is that it is unable to be static by its very definition, so artists rarely spend time honing their craft in lieu of yet another reinvention.
Room(s) by Machinedrum (one half of Hotflush darlings Sepalcure) is testament to the idea that I often don’t have a clue what I’m talking about. This album refuses to break any new ground. It bears some striking similarities to the current output of many of its peers, but it’s downright blooming marvellous.
Joy O inklings of rumbling drums, meandering chords and syncopated vocal pops announce themselves on opener ‘She Died There’. HudMo has a fitted cap doffed his way through the bashiness of current single ‘Sacred Frequency’. There are even nods to forward thinkers of days gone by in the Metalheadz-inspired glory of ‘U Don’t Survive’. But my personal favourite is ‘GBYE’ and its musings of ‘the plant level from G Darius’, as it ties in rather well with the ‘remixing old Playstation game soundtracks’ project I’ve literally just decided I’m doing.
These similarities are not unwelcome. These artists are some of the reasons the scene has gained so much notoriety and it’s always nice to not be so ‘forward thinking’. Machinedrum attempts and subsequently succeeds in striking a fine balance between progression and quality and thusly butters my upfront, forward thinking, future parsnips.
That sounded a lot better in my head.
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