More regularly found on the Pig Balls label, Pulpfusion here releases Funk Never Sleeps via BPR. The title track is a slap bass funk rock spectacular featuring Morris Chestnut, Lorenzo Medici and someone called Jim. Remixer Jayl Funk also rocks up to take the tune downtown to cool, retro New York block party. Elsewhere "The Beat Inside My Soul" is steamy, rolling 60s mod funk jam, given a party friendly electro-swing makeover by DJ Maars and turned into party breaks territory by Rory Hoy. Extra party breaks ammo can also be found in bonus cuts "Beat The Clock" and "Feeling The Blues".
The Saucy imprint is on its way to establishing itself as a new source of quality, reliable bass music for the corner dwellers aka dubstep aficionados aka bassboys. Hot Goods debuts on the label with a bunch of direct, straight-up bruisers made for the dancefloor, and "1944" acts like the first missile shot in what quickly transforms into a rather menacing dance EP; WATSN's remix of the tune bridges the gap between techno, dubstep and electro house in a rather excellent manner. "Shogun" adds a little garage flavor to the producer's clearly audible grime fascination, whereas "Ghoul" heads straight for the tech-house formula with its steely percussion roll, and highly stripped back bass bumps.
Some would say that Nixon's material, which has predominantly come out through the Punks label, is heavily influenced by the pirate radio culture of the nineties and early 2000s. We'd agree with that, but it goes much further than mere concoctions of bass and drums. For instance, a track like the present "Somewhere Shadows" delves into many different pockets of electronic music, and the result is something mystical, far-reaching and utterly beautiful. Similarly, "Equipped Future", which samples Optical's original sample on "To Shape The Future", uses the bases of old-school d&b to paint a much border, more immersive picture, and "Gods Chor" offers a gorgeous, open world of breaks and dreamy pads. "Beings Below" is the perfect closing tune, a deep and mesmerizing sonic affair that would have truly rocked the place back in the Blue Note days. TIP!
Tyler Martens clearly likes to immerse himself in tropical vapours when working on his tunes, and his Stickybuds alias has produced some rather potent strains of bass music. This time he features alongise K+Lab and Kwadi for the Westwood Recordigns mandem, with a funky little hybrid bomb that touches apsects of disco, boogie, and straight-up breakbeat. Imagine a 70s funk tune reinterpreted through today's beat-centric dance approach, add in some sleek vocals, and you're somewhere there. There's an instrumental, too, for those wishing to mash it up with yet more killer breakbeat formulas.
Remember when Fat Boy Slim was a young man who still had fire in his belly? Actually he never really was young was he, but he did inject a certain chutzpah into the big beat genre back in its heyday. This new EP, in which Rory Hoy and Under Influence remix each other's records, recalls that kind of energy. There are six slices of mayhem to feast on here, highlights of which include the souped-up, heavy hittin' 70s blues-rock of "Gangsta", the (slightly) more laid back brassy grooves of "Soul" and the hardcore rave referencing "Feel Dis". Ace beats!
Midland's finest Nina Wilde is a one-woman bass machine. Except when she isn't, like here, where courtesy of the talents of MC Blenda, she's one-woman bass machine with extra fire. We'll skip the inherent contradictions of calling a collaboration "Less Is More" and jump straight to the music, which is great. It's all about infectious garagey swing with doomy, low-end chugs and Blenda's ragga influenced flow. Remix-wise Lucent contributes starker beats and hypey build-ups while Tyler O'Neil rustles a super catchy pop-dance take on rolling bass vibes.