The term ‘Bass Music’ may seem intentionally vague, and that’s because it is, though I am learning that this is more out of necessity than apathy. When I first heard this term years ago I thought it was lazy. “Why bother labeling something if the label does not specifically describe what it is? All dance music has bass”.
With my focus delving deeper into the realm of electronic music, the need for the term has become abundantly clear; innovation. The best, most innovative electronic music these days, in my opinion, is relatively un-categorizable. Not fitting neatly into one genre is almost a requirement for it to be considered innovative. The new joint effort release “Volume 1” on DEEP MEDi MUSIK from Commodo, Gantz and Kahn is a perfect example of the continual genre-bending push forward into the unknown of which I speak.
“…deep, technically crafted music.”
For those of you unfamiliar with DEEP MEDi, they are a UK-based dubstep label run by Mala, one of the forefathers of the genre. The label is well respected in many circles, known for releasing mostly dark, minimal, sub-heavy bass music, with the label of dubstep bursting at the seams to contain the wide variety of music found within. Much of the music released is in the spirit of the original style of dubstep; very deep, technically crafted music with less of a metallic feel than its Americanized counterpart. Simply calling them a dubstep label, however, does not even begin to do justice to their contributions to the progression of the umbrella-genre label that is bass music.
Commodo, Kahn and Gantz might already be familiar names to anyone with an affinity towards the dark and visceral sounds of the original UK style of dubstep, with the three producers all individually standing on a respected catalogue of music of their own. This release is a rather unexpected collaboration between the three producers, who have never worked with each other before. Many took note that something special was in the works when it was announced that the collaboration would be a six-track LP, as opposed to the 12” singles that DEEP MEDi is known for releasing. Many offerings from the label come with only two or three tracks, at times being released solely on a limited run of vinyl prints; a practice undoubtedly inspired by the ‘dubplates’ of the Jamaican dancehall scene that then permeated their way into the DJ culture surrounding dubstep (and various other genres) in the 90’s and early-mid 2000’s.
This album has “exploratory” written all over it.
Bass music seems to be the only fitting category, further deepening my understanding of how much of an honour it is to have this term applied to a piece of music. From deep dubstep tones with heavy low-end motion to rolling 808 trap-like-snares, this music borrows the best parts of various genres to construct something unique.
The first two tracks, ‘AMK’ and ‘So Familia’ are very hiphop-inspired. Both containing Middle Eastern tones and strong melodies to drone through the slow shuffle of percussion. They serve as an introduction, offering sounds and tonal themes that are repeated as the feel of the music develops and darkens in the following tracks.
After the masterfully edited and head-bob-worthy march up the mountain that is ‘Kibosh’, the albums energy begins to peak with the fourth track, ‘Crystal Collect’. The voices of all three producers are clearly heard in the dark, varied sound design and deep rhythm structure of this song, melding together to give a feel that could only be created by a collaborative effort. Echoing percussion samples snap and crack through the mid and high range, while a beautifully unnatural-sounding bass tone swells and gives the song its melodic movement. By the time the fifth track, ‘Bitchcraft’, arrives, the consistent and pulsing sub-bass is a welcome addition, giving the track a strong sense of forward movement, slowly pushing the album towards its final moments.
The final offering on the album, entitled ‘Unmistakable’ is certainly that. Liquid-like textures sit comfortably under a beat that my body is constantly chasing to keep up with. The white noise in-laid at times is almost undetectable, only noticeable when it’s taken away, helping to create an anxious and uncomfortable feeling that is strangely attractive. The final track evolves steadily, patiently building on its many percussion sounds before dropping into a slower trap-style beat, giving many of the Middle Eastern tones that are present throughout the album a final return before fading back into the darkness from which it all has come.
This album is all about sonic exploration with a strong sense of familiarity, achieving the perfect cohesion between challenging listeners and giving them what they already know and love. The soundscapes of each track move seamlessly into one another, while a strong sense of wide sonic space is created throughout, using seemingly endless echoes and reverb. What truly impresses me about this album, and many other similar releases, is the endless variation of percussion. No two 16 or 32-bar percussion phrases are exactly the same, instead evolving with rhythmic variation and new sounds to fill up space while keeping a strong foundation on which to build. The attention to detail throughout reminds me of the advantage that electronically produced music has over its acoustic counterpart; inhumane control in both sound design and rhythm structure as well as the ability to isolate every detail to achieve maximum impact. No frequency is wasted here.
This album has further grown my respect for the DEEP MEDi MUSIK label and each of these producers as individuals. Anyone unfamiliar with Commodo, Gantz or Kahn, or DEEP MEDi in general should dig a bit deeper. This album is just scratching the surface in respect to all of the creative, dark and explorative bass music that exists out there. Releases like this bring positive connotations back to dubstep; a genre label that has been used and abused and all-but thrown away from the mainstream consciousness.
Check out DEEP MEDi MUSIK, GANTZ, KAHN & COMMODO.
