Bassment’s “Casual Contract’s starts with a shiver of cymbals and a melancholy guitar. If you replaced the rasping tear of a scratched record and the lethargic bass/drums combination with something a bit faster this could be Detroit techno. But that’s all moot given Dan Tout’s vocal, a whispered and huskily intimate rap that is alternately menacing and seductive. The end result is hip hop shorn of its accoutrements, a supremely executed piece of post-rap and soul music.
Or at least it would be if Tricky had not created Maxinequaye 11 years earlier. Amongst that masterpiece’ sultry and bleak atmosphere, a throwaway line underpinned his sense of bemused paranoia:“How can I be sure / In a world that’s constantly changing.†Maxinequaye was apparently Tricky’ response to Portishead’ heartbreaking modern blues, but while it was derived it was far from derivative. Unfortunately, the same cannot be said for Bassment.
Elsewhere on this Melbourne-via-Bristol producer’ eponymous debut you get tributes to DJ Krush and Portishead, but despite great production it lacks spark. The album opener, “Light Work’, features Tout’s partner Nicola Watson sounding like Portishead’ Beth Gibbons. But while Gibbons channelled Billie Holiday’ understated, heartrending blues in her torch songs, Watson’ wooden songs lack spontaneity and seem designed to show off her vocal range. Nothing ultimately disappoints most because it reflects its forebears so clearly without ever showing you its heart.
