crakmak

[crakmak]

I lost someone close to me recently, so I've been flipping back and forth between the really really heavy shit and sunshine and rainbows depending on what I need. This one is definitely from the former group. Turn it up loud enough and that bass drum might take physical form and fuck your shit up.

[crakmak]

In a delightful twist, BBC viral-video merchant Ros Atkins has revealed that he was a DnB DJ in the late 90s. Once this came to light he was asked by BBC Radio 6 (the best radio station in the world - fight me) to put together a short mix. The reaction from the DnB world has been fun to watch.

It got me thinking about my own influences. I'm a little younger than Ros, he's more into the original jungle sound than I am. My DnB touchstones are techstep and neurofunk, harder more mechanical sounds that emerged in the mid/late 90s.

Flicking through my collection of 90s DnB I came across this techstep masterpiece released in 1998. There are more radio-friendly versions but this is the full 12-minute album cut. After 6 minutes of build, the supremely unexpected mid-track drop comes courtesy of the legendary 1995 cyberpunk anime Ghost in the Shell. Otherwise, all techstep components are present and correct: razor-sharp percussion, tight industrial bass and sci-fi glitch madness.

[crakmak]

Dubstep is having something of a revival these days - the buzzsaw screams so beloved of EDM pillheads are on their way out (finally), and we're seeing the return of massive sub-bass and broken step beats. As an unrepentant #oldman convinced that everything was better in the 00s, this is music to my long-suffering eardrums. Wynde Up's colossal remix of Sidepiece's club-focused booty-shaker Acrobatic is a perfect example. He slashes the original track to pieces and makes it beg for mercy before levelling the entire place with bunker-busting bass and - my personal favourite - air-raid sirens. Approach with caution.

[crakmak]

This is special. It starts with the chop of industrial machinery and seemingly random bass warheads. And then the beat drops like a motherless child. Music to soundtrack our 21st-century dystopian nightmare. Also, bonus No Good Start the Dance percussion, bigger and deeper here but still sexy af.

[crakmak]

This is special. It starts with the chop of industrial machinery and seemingly random bass warheads. And then the beat drops like a motherless child. Music to soundtrack our 21st-century dystopian nightmare. Also, bonus No Good Start the Dance percussion, bigger and deeper here but still sexy af.

[crakmak]

Love the sub-bass on this one - it takes what would be a mellow dnb head-nodder into darker and edgier territory. Sort of like going for a drink with that mate of yours who is a good laugh but will inevitably start a fight.

[crakmak]

As a rule I fucking hate trap. I'm going to go all miserable old geezer on you here: I remember when dirty south started taking over the US in the early 00s, I moved to London and thought 'thank fuck I don't have to listen to that shit anymore'

And then it slowly took over the world - reaching its peak about 8-10 years ago but refusing to die. And don't even get me started on autotune. I have every reason to believe that Cher is a wonderful person, but she is guilty for so much.

Anyway, the rule states that I fucking hate trap. But, like all good rules, it has exceptions and this is definitely one of them. A really filthy slice of bass and distortion. Nice smokestacks on the decal too.

[crakmak]

This one came out in April 2020, mid pandemic panic overdrive.

I was in London and the weather was just getting nice, Zoom parties with mates were still a novelty, and everyone agreed that it was reasonable to be drunk as much as possible. Weird times.

This tune really captures the apocalyptic scent in the air at the time. It's so large and overwhelming that it seems to become extra-sensory in some way. Bass so thick you can touch it.

[crakmak]

Well. It has been some time since I did this. Shit has certainly gotten weirder and darker, but then this blog was always about celebrating that kind of thing.

This track here is from the legendary David Seaman, it's the work of a master at the top of his game.

Screwface, eyes-down, warehouse-at-4am business. Crank it up and turn off the lights. You can almost taste the sweat dripping off the walls.

[crakmak]

Giddyup motherfuckers - it’s a little bit of Friday business.

[crakmak]

Bit of a breakbeat monster today from everyone’s favourite haemorrhagic toxin. He’s taken DUSK’s trip-hoppy daydream Constellations and eviscerated it, leaving only a distorted vocal and a bit of the piano line as a counterpoint to the dirty dirty fucking bass drop. 10/10 would poison myself again.

[crakmak]

So this starts of nice and normal - bit of funky percussion but nothing too crazy. Then, just as I was pondering the least likely place to be nuked in the impending conflict, a bucket of pure filth invaded my eardrums. In a nice way. Here’s to filth and nuclear war bitches.

[crakmak]

Apologies for the radio silence - winter, knowhatimean?

I thought this was suitably wintry - could have been more spartan maybe but still sounds good on a freezing morning in January.

[crakmak]

It’s like 16 years flew by in the blink of an eye. Underground will live forever baby.

[crakmak]

Well this is a bit special...

[crakmak]

It’s a warm summery Friday afternoon so what better way to celebrate than to listen to some dark and disturbing electro-bass. This tune wouldn’t be out of place at satan’s all-night basement rave, probably the opener actually. Let me be clear: this is a fucking monster.

Oh, and Kamikaze Space Programme is the best production moniker I’ve come across in a long while.