I absolutely fucking adored Titus 12’s last full length album, Dig and Delve (on Sheffield’s Planet Terror netlabel), I played it to death in fact. Then, after a short respite, I revived it’s zombified form and repeated the process and after hearing this collection of early tracks, rarities and other oddities I feel the time has arrived to return to the lab and start doing the sort of thing with flashes of electricity, body parts and strange brews which usually gets the villagers and their burning torches all hot and bothered.
Bardman Business is no Dig and Delve of course but it’s still pretty damn good with a couple of proper stand out tracks which’d be worthy of a fully formed album and others which are well worth the price of admission (read: download & free). Special mentions for ‘Crisis Drone’ and ‘The Suits of Woe’ in particular the latter of which is approaching my all time favourite, fanboy revelry inducing ‘Mr Morningstar’ from Dig and Delve in the compulsive listening stakes.
Just remains to hope that this is a forerunner for another full length Titus 12 release.
Duck – Logical Fallacy (Fresh Poulp)
Emerging from French Dub/Electronica/D’n’B/Trip Hop specialist NetLabel ‘Fresh Poulp’; Duck, or possibly ‘DucK’, is a purveyor of ‘Electro-Dub’, apparently, which as a sentence is jam packed enough with relatively meaningless genre definitions to satiate even the most determinedly anal and organised of souls.
I like Dub. I like the archetypal deep beats, the wandering, ponderous path the music follows, the immersive rhythyms which drag you in – I like all of it and from the innovators of the genre onwards to the sea of bedroom producers we have today I can pretty much always find something which works for me. It is, however, a very lazy genre. Barring one or two notable exceptions Dub makers are rarely given to random experimentation; the foundations of the music are clearly laid out and they’re more than solid enough for most just to indulge in the minorest of variations in their work, hoping, presumably, that even if the structure is as predictable as ever they’ll make the right minor adjustment to make their work stand out. Mostly, however, they fail.
Ras Amerlock – 2010, A Bass Oddity (Trinity All Stars)
Dub is rarely percieved as a genre with a tendency towards variety for reasons which, to most, are fairly obvious. After all, most Dub actually *is* fairly similar and with the basics of the beat almost engrained in the foundations of the music there’s limited scope for creative dabbling. Sure, you can go all out Electronic, or you can hold hard to traditionalism, or choose one of the paths in between the two but ultimately it remains a struggle to truly burst out of the confines of convention.