Brackles BracklesSongs For Endless Cities
“Bass! How low can you go?” Chuck D said it and now the mythical opening line to “Bring The Noise” takes on its full meaning by the hands of Rob Kemp. Brackles has been announcing its arrival to the mortal plane for two years by means of some very serious warnings, released on some of the principal altars of contemporary electronic music –Planet Mu, Brainmath, Apple Pips and his own Blunted Records imprint. He has only needed a handful of releases to catch the critics’ ears and transform his long-awaited first LP in one of the most wanted items among connoisseurs of bass and post-dubstep. While we’re waiting for the twenty-something year old Messiah to write his Bible, while we’re sharpening our knives and forks and try to dip our bread into his rhythmic marmite, there’s nothing better than admiring his work as a selector on this incredible trip to the bottom of bass culture in 2010, with the stamped guarantee of !K7.
The prestigious German label has chosen Brackles to kick off a new series of sessions called “Songs For Endless Cities”. Great choice to start the series with echoes of science-fiction in its name. Nothing better than Kemp’s futurist sensibilities to check out the best that the present bass culture has on offer. The man knows what he’s doing. Kemp is a craftsman in this field and he has a nose for the juiciest tunes, making this collection as tasty as it can get. A kick-off with Flying Lotus and his particular cubist machinery of android rhythms, followed by the first dancefloor action by Floating Points –the sensational and super smooth “People’s Potential”– makes it very clear we’re dealing with a collection of known treasures. Rob Kemp doesn’t look for impossible rarities, ruined by the crates they’re in or in other ways on the road to extinction, and to be honest that’s refreshing. This train stops at stations known by everyone with an interest in the genre, bass producers who have rung the church bells to the delight of the headz during the first half of this year and have drawn the attention of everyone. It would have been an error had he tried to outsmart the others. The fact that the mix lacks the bite, the paraphernalia and the nerve of an explosive set –this is not a Dave Clark session, you know– but those who look for simply well-played music, great selection, impeccable mixing and little more, know that this record is a gem we will aurally polish until exhaustion.
The list is tremendous from beginning to end. It ties the juicy bounces and Nintendo solos of “Luv For Knmfh” by Kyle Hall with the atmospheric soul garage of Cooly G – “Love Dub Remix” is a sweet trip of canned sucrose and silicon. He plays “Tarantula” by Zomby right when we need it, only to patch up with the excellence of the craftsman the deep bass lines, the soul trills of Anehsa and the hip-shaking claps of Roska’s “I Need Love”. It’s his trademark: incredibly fine mixes, smooth, up-tempo but without useless accelerations and the finest nose for the most danceable post-dubstep tunes. Add to that some bass lines that go right through the sternum and send pleasant shivers down your spine: that’s enough for Brackles to achieve instants of great danceable deepness and swollen basses, like the wobbly “Bio”, one of his own productions, or the festive and tribal “African Forest” by Rishi Romero. Beats like fists stomping mercilessly on your torax. It’s impossible to knock his tracklist when you stumble upon 2562’s “Dinosaur” –maximum elegance– the a-rhythmic chaos of “Trilingual Sex Experience” by Dorian Concept and that brutal electro-funk for b-boys on smack that is “Must Move” by Funkineven as the closing track. Bass is spelled with the B of Brackles, now you do the math.
Brackles - Blo