It’s not a cuss to say in print that Bengal Sound’s latest two-tracker for Innamind is something of a simple pleasure. It’s more that the lad’s ability to make a rather staunch and straightforward, head-nodding, half-step beat sound refreshing is an absolute touch. On both ‘Young Skeleton’ and ‘Coroners’, he’s mining his own sound with a clutch of delightfully obtuse sample sources. Swirls of strings propel ‘Young Skeleton’ into a screw face slurry, while ascending jazz loops pepper ‘Coroners’ with soul. Basically yeah, he’s operating in the slip-stream of bonafide dons like Commodo and making those weirdo monster neck snappers.
The Tectonic boss breaks the semblance of radio silence with a three-tracker for the Berceuse Heroique label, which certainly shows a harsher, aggier, more greyscale side of Pinch’s production. It’s all wonderfully bruised and brutal, with the tracks landing somewhere between dubstep, techno and a squall of noise. Rather importantly, each of the cuts share a collective breath that sounds like a cloud of static scuffing up everything it touches.
I’m a proper sucker for the swagger and bombast of producers working in the golden space between tear-out dubstep and boom bap hip-hop — people like EPROM, basically. So Tsuruda’s outlandishly hard ‘Kimchi Crisis’ is great, because it's a real tough nut of a beat that evokes the best parts of that kind of outrageous, razor-sharp sound design, while managing to never really repeat itself. The really good news is there’s a nine-track EP imminent too.
(Sighs heavily) — ahhhh, drum loops are just fucking great aren’t they? There’s nothing more definitive of the garage genre than the clip and swing of a bubbly two-step rhythm. The Leeds-based producer Peaky Beats definitely understands the potency of a well-trodden percussion pattern — take a cut like ‘Miner Forty Niner’, where he punches one out and fills the gaps simply but effectively with short synth stabs and bass squelches. Effortless cool.
My bias for the work of Samiyam is so long documented that, at this point, I don’t feel like I really HAVE to justify my affinity for it. But I will… because he keeps shotting these super worthy beats over on his Bandcamp. The way his equipment time-stretches the loops so they barely fit the lolloping drum structures on a track like ‘Kit Kat’ is better than that time I won £40 on a scratchcard.
Already established as something of an unsung hero of the Cali-adjacent beat scene, Mono/Poly’s new single for 20/20 LDN merges some of that sun-drenched attitude with some frank and hard ass drum work. Both ‘Stacking Ones’ and the flip ‘Teach You All A Lesson’ are big, loud and direct, but no one is looking for subtlety in a club setting. You can’t turn up to minute harmonic shifts, innit.
Jelly Bean Farm
At this point, the lines between ‘techno’ and ‘dubstep’ are already pretty fuzzy, but Wun’s ‘Render’ has the same sick and supple rhythm that some of those early Pearson Sound bits did. His sound palette is bleaker though, and I guess the true ‘techno’ aspect comes in the repetitive nature of his arrangements. On cuts like ‘Cobalt’, Wun goes full on noir, absolutely flaying down his breathy four-four kick drums.