A journey through the exponentially growing sound of rude house.
“Bass Music” has come a long way. From the days of Miami Bass even up to the heyday of FWD» era Dubstep, subwoofers were almost exclusively found at clubs (except in Jamaica – they were badass enough to build their own soundsystems). Only within the last few years, though, has it been commercially-feasible for the average person to acquire a subwoofer (they’re even standard in most new cars now). Accordingly, culture grows as technology develops; heavy low-end has become standard across the board in electronic music and, as such, the term “Bass Music” has progressively become more and more of a gray area. Everything is “Bass Music” now.
The term originally (and still predominately) refers to the conscious advancement of the Hardcore Continuum beyond Dubstep, into other realms of dance music (primarily House), starting in 2009 and pioneered by the likes of Untold, Ramadanman (now Pearson Sound), Scuba, Ben UFO and their ilk. Since then it has managed to weave itself into almost every facet of modern dance music. But my favorite development thus far has been the resurgence &, more importantly, redevelopment of Bassline House. Sure, with the likes of DJ Q, Redlight & Zinc as vanguards, one can argue that it never went away (surely enough Jackin House has had it’s own isolated popularity in the UK the last few years), but the era defined by club nights like Niche are long past. And while the classic sound of Speed Garage and Bassline has had a resurgence in it’s own right (finding new heros such as Checan and a home in Unknown To The Unknown) there is an altogether new kind of Bassline brewing about.
This rude house is a result of a growing penchent in House (especially from the Tech House corner) for LFO’d bass lines and a simultaneous revival of the hollow bass lines from the days of Jungle & Dark Garage.* At the moment it isn’t much more than house producers stretching their legs, finding new ground. Yet producers like Kry Wolf, Hannah Wants, Lorenzo (a prolific collaborator), Billy Kenny, Cloaka, Shadow Child, Lakosa, My Nu Leng, Foamo, Pedestrian, Codec and a plethora of antsy up-&-coming producers, with the crucial assistance of Black Butter, Food Music and Dirtybird, could very well turn this into the IT sound of clubs this year (you heard it here first, remember that). So this mix is intended to serve as an introduction, starting with the more industrial and grimy sounds, moving on through to the crisp derivatives of Tech-House.
Fair warning: once this mix picks up it is unrelenting. One of my favorite sayings is “it’s not a banger if you play one after another” (spoken by the legendary Silkie) but, for an exhibition mix of this style, that is relatively difficult task to be charged with. Nevertheless, I did my best to maintain a sense of narrative and align the motifs accordingly. Enjoy.
- Phaeleh — The Cold In You (Djrum Remix), Pt. 1 [Afterglo]
- My Nu Leng — The Grid [877 Records]
- Djrum — Mountains Pt. 1 (Pedestrian Remix) [2nd Drop]
- Woz — Poppin’ [Black Butter]
- South London Ordnance — Sanctuary [2nd Drop]
- Hannah Wants & Lorenzo — Dappy [forthcoming Food Music]
- Alpines — Empire (Tessela Remix) [Untrue Records]
- SecondCity — A1 [Free Download]
- Codec — What You Need [Black Butter]
- Taiki & Nulight — Got Your Pleasure [Free Download]
- Kry Wolf — Together [forthcoming Food Music]
- Lakosa & iO — Live Wire [forthcoming Airflex Labs]
- Kry Wolf & Claude von Stroke – Turbosteppa [Dirtybird]
- Toyc & Zulu — Needs To Be Said [Zoo Music]
- TCTS — Feels So Good [Free Download]
- Shadow Child & James Talk — Comb Over [Dirtybird]
- iO — Tough Luck (Cloaka Remix) [forthcoming Infinite Machine]
- Hackman — No More [Free Download]
- Phaeleh — The Cold In You (Djrum Remix), Pt. 2 [Afterglo]
*Which is, as I see it, our culture’s method of healing itself after spending the last few years violently rebuking our bastard child that is Brostep by turning to much softer styles of “Future Garage/Bass” and whatever James Blake is.