Various Artists: To Illustrate Album Review

Most genres of dance music roughly correspond to a specific tempo range. House thumps at about 120 beats per minute. Techno raises the accelerator to 130. Drum & Bass carves a tornado-like path between 160 and 180. These buckets are, in part, a practical consideration that facilitates beatmatching for DJs. But such divisions also have an expressive dimension, with specific tempos emerging as both organizing principles and creative playgrounds as the boundaries around subgenres gradually dissolve. When dubstep split in his late 2000s, some artists saw his 130 BPM as an umbrella covering bass music, UK funky, Broken his techno, and equally rugged, syncopated fast-step styles. began to praise Other DJs have pledged allegiance to his 160 BPM as his sweet spot where drum’n’bass and footwork overlap. explainA new collaborative album from Wisdom Teeth, turns its lens to the other end of the spectrum. 100 BPM is a seemingly quirky zone with surprisingly dynamic results.

London’s Wisdom Teeth started in 2014 as an outlet for the strong bass music that emerged after dubstep. Its early releases had a stark, edgy aesthetic akin to Bristol’s Livity Sound (where Wisdom Teeth occasionally shared personnel). Over time, however, co-founders Facta and K-LONE expanded the scope of the label to encompass a more diverse set of sounds rooted in ambient and home listening to his electronica. rice field. Regardless of tempo, Wisdom Teeth releases tend to be distinguished by their colorful palette and percussive, almost pointillist applies explain likewise. Her 10 tracks on the album are filled with lush synths and digitally rendered mallet instruments. His drumming sound, meanwhile, is detailed like a grid intaglio of rimshots, woodblocks, cowbells and dry boxy snares. The metallic sounds and lasers of his zap add a futuristic sheen, while the tight spirals of Dubhi’s delays give it a buoyant feel, like bubbles rising from a diver’s mouthpiece.

Ten or fifteen years ago, this tempo collection of songs might have been destined for slow-motion disco or house. workshop crew. Reggaeton patterns are a major reference point these days, animating nearly every track in a comp. Miami producer Nick León’s “Separation Anxiety” is a grim, undulating club his banger, staccato his kicks, staccato his accents, bare his traps his snares. Manchester producer Henzo’s ‘Whirlpool Vanish’ has a similar minimalist sensibility. The booming synth bass and jerky movements recall the determined digital style of dancehall favored by producers such as Sly His Dunbar, Renky Marsden and Ward 21 circa 2000, and then anthologyed on Mo Wax compilations. . NowsingBut even more dreamy, laid-back cuts like Facta & K-LONE’s R&B-leaning “Kiss Me, Can’t Sleep,” and Bristol duo Glances’ cosmic-leaning “Sun Dapple.” , which tends to follow Denbo’s syncopated heartbeat. DJ Python, who counts Henzo on the roster of the Worldwide Unlimited label, just shows how influential the New York producer’s idea of ​​”deep reggaeton” is, and is missing here.

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