Planet Mu are all over the nascent subgenres swelling around the bass music diaspora, from the Juke styles of ChicagoÃ¢â‚¬â„¢s DJ Diamond, thru to this hyperkinetic effort from Kenrick Connor, coming thru on the Dutch Bubbling House tip. Presents KentjeÃ¢â‚¬â„¢sz Beats is a thrilling ride that can suck you in; before you know it, youÃ¢â‚¬â„¢ll be crazy dancing like a robot hardwired to a steady diet of Reggaeton and Soca played in a style so frenetic that itÃ¢â‚¬â„¢s almost comical. Certain strands of dance music throughout history have come across as simultaneously stupid (or perhaps thatÃ¢â‚¬â„¢s stupid dope fresh) and mighty profound at the same time. Anti-G manages this feat, mixing the off-kilter Grime of Wiley and Terror Danjah, and the Caribbean rhythmic impulses of DVA, Funkystepz and a host of London-centric post-Dubstep producers.
There is also echoes of the immediate pre-Dubstep recent past (circa 2002-04, as UK Garage was being replaced by Grime) in the glowering riddims of Ã¢â‚¬ËœFreak it OutÃ¢â‚¬â„¢ Ã¢â‚¬â€ it could be Digital MystikzÃ¢â‚¬â„¢s Ã¢â‚¬ËœNeverlandÃ¢â‚¬â„¢ transplanted to Trinidad. I can almost imaging hordes of hyped-up teenagers, emerging from a dark Delft nightclub ready to rumble, high on the fact that Ã¢â‚¬ËœBubbling Cause TroubleÃ¢â‚¬â„¢. The squeaky synths that inhabit the album are the bastard offspring of a squeaky balloon and a steel drum kit; itÃ¢â‚¬â„¢s a sound thatÃ¢â‚¬â„¢s either love-it-or-hate-it. The mid and top end are as important in Anti-GÃ¢â‚¬â„¢s productions as the Bass, with the melody lines squeezed out up high, whilst the bass almost implies itself in the interstices between the melody. On Ã¢â‚¬ËœTHE FUCKING ERROR!!!Ã¢â‚¬Â those squeaky chipmunked synths bore into your head with the insistency of a hungry child in the checkout queue at your local supermarket (and then he adds an air-horn for maximalist effect).
IÃ¢â‚¬â„¢m sure Simon Reynolds would love the staggeringly fast ticking snares and steel drums pitched to a blur of Ã¢â‚¬ËœTrille Tot Je doodyall!Ã¢â‚¬â„¢, hyping the hardcore continuum up for the social media generation. Stretching the formula out from the brevity of the two-minutes or less slide show of the majority of the album, a number of tracks exhibit multiple ideas that are given room to breathe, rather than being juxtaposed frenetically and forced to comply to their creatorÃ¢â‚¬â„¢s skewed Fruity Loops logic. Ã¢â‚¬ËœInstrumentals Reggeaton (sic)Ã¢â‚¬â„¢ slows the pace, yet the synths still trill and peel with a bashment Soca vibe that manages to be both Gothic and medieval yet relentlessly cheery.
Whilst reviewing Presents KentjeÃ¢â‚¬â„¢sz Beats, I needed to explore the Dutch phenomena of Bubbling House further. Born out of a late 80s Dutch DJ dropping a Dancehall 12Ã¢â‚¬Â at the wrong speed, such wrong-footed vibes caused a stir amongst the immigrant communities from the Caribbean. Importing the freshest riddims from Jamaica, pitching them up and down to ridiculous lengths, the DJÃ¢â‚¬â„¢s happy mistake was eventually overtaken by the predominant Dirty Dutch House sound of the 90s, only to re-emerge with a new generation of black and Latin clubbers in the last decade. Sharing the hallmarks of the Bubbling sound with the sceneÃ¢â‚¬â„¢s modern technicians, the wrong-footed vibe of distorted technology and youthful exuberance pushes the dance in new and awkward directions. An acquired taste, Presents KentjeÃ¢â‚¬â„¢sz Beats, took me quite some time to get my head around, but now itÃ¢â‚¬â„¢s there, ThingsÃ¢â‚¬â„¢ll Never Be The Same. The rightful place for these riddims is on a big system rather than tinny computer speakers or headphones, although IÃ¢â‚¬â„¢m sure that the hard-wired youth of the Netherlands appreciate the frenetic sound of the Bubbling universe in either iteration.