We are a drum'n'bass nation thanks to acts like Shapeshifter and Concord Dawn. But this is not a column about barbecue drum'n'bass people, this is about real-deal, fired-up dancefloor drum'n'bass.
It seems this style has gone a little quiet and only to be found in the doldrums of dingy clubs.
Admittedly, the likes of Ed Rush, Logisitics and New Zealand's State Of Mind has less general appeal than Shapeshifter, or even the crossover style of Concord Dawn. That's a shame, because it's easily some of the freshest dance music at present - and enduring.
This is no better heralded than on Take Control, the debut album from Auckland duo State Of Mind. Just when you thought drum'n'bass acts don't conjure up a climax, or kick in as well as they used to, along come State Of Mind who hurl themselves into songs like Kurt Cobain used to throw himself into drum kits.
Take Control, which is released on Concord Dawn's Uprising label, is a charger - right from the opening onslaught of Paint the Walls Black to the decadent, retro heaviness of Back To the Jungle, and the worldy mysticism of Sunking and Snakecharmer.
And the song name of the year goes to these guys too for Cheeky Darkie.
Yes, the infamous Paul Holmes' description of United Nations Secretary General Kofi Annan has made it onto record. Who said hard-hitting dance music doesn't have a sense of humour?
State of Mind are not as adventurous or accessible as Concord Dawn, but they know where their strength lies and that's in da club, at a party, or at a New Year's Eve spot near you.
Plus you can't go past Barricade or Real McCoy when the housework needs doing.
At 24 tracks and around 120 minutes you could be forgiven for thinking the Logistics two-disc album, Now More Than Ever is a little OTT. One album probably would have done, especially since it's a debut. But he gets away with it because the first set is soulful-electro-styled drum'n'bass and the second reveals the producer's muscular and clinical side. Don't get the impression that the first disc, Now, is that background cafe-type d'n'b. On the contrary, the whole album is smoking. It's just that second disc More Than Ever is a diverse and experimental stomper.
Now starts with the sinister robotic vocals and electro swing of Beatbox Master, then there's the joyous Call Me Back, and then the album highlight, Machine, with the catchy mantra of, "If you don't hurt me, then I won't hurt you, I'm a machine, I got feelings too".
More Than Ever is a futuristic treat. Girl From Mars is a romp, The Divide has an anemic 80s techno feel yet is strangely intriguing, and tracks like Time To Give It Up, Juno Six and the title track are riveting.
Another two-for-one debut is Northern Soul, by Craggz and Parallel Forces, featuring a studio album and a live set.
It starts off with some Detroit-style keys and the soulful mantra of, "Your love, has got me going insane". It's feelgood, despite the soppy sentiment. Then in comes that frantic yet soothing broken beat attack that is silky and smooth. Add to this the sporadic flourishes, like Tinkerbell casting a spell, and it could be a little too like cottonwool for some - but it's stylish. And No More Tears is a cool vocal track with fuzzy and erratic staccato beats.
On the down side, potentially exciting songs, such as Sand Dancer are hesitant and take too long to cut loose.
Also, soulful tracks like Different Universe (which sounds more like the Lighthouse Family than Soul II Soul) and Out Of Time (a slow-motion Pointer Sisters perhaps?) also let the album down.
Finally, you can always trust the old schoolboys to deliver. Ed Rush and Optical have been around since the mid-90s, mostly dwelling on the dark side of the genre. From the haunting industrial beats of Rush's Torque in 1997, to the pair's classic Wormhole in '98, and now, with their new album, Chameleon, they keep the spiralling and stealth stunners rolling. These two are masters of a powerful buildup into a euphoric crescendo, and then - smack - your spine contorts and cracks like an ice-shelf giving way. Life Underwater is the best here, with its flexing atmospherics, dark and discordant undercurrents and a menace reminiscent of Photek.
On Concrete, they aren't scared to bounce around with ska beats and jazzy drum'n'bass like Welcome To the House of Fun by Madness.
Other highlights include the steely tech-step manipulations of Test Tube (you will have to let rip with a few hand chops here) and the tight squelchy beats of Lust. Funky, stealth and sounding stupidly fresh for guys who have been stomping their way around the world for years.
With this lot there will be no let up 'til the sun comes up.
* State of Mind play 4:20 in Auckland Saturday November 11 and Jupiters in Hastings on Saturday November 18.
STATE OF MIND
Take Control
(Uprising)
Herald rating: * * * *
Verdict: Straight-up piece of rumping grinding class from Auckland duo
LOGISTICS
Now More Than Ever
(Hospital Records)
Herald rating: * * * *
Verdict: Two different moods on value for money double disc debut
CRAGGZ AND PARALLEL FORCES
Northern Soul
(Valve Recordings)
Herald rating: * * *
Verdict: Some soulful stinkers tarnish a sleek and sizzling debut
ED RUSH & OPTICAL
Chameleon
(Virus)
Herald rating: * * * *
Verdict: The masters are back, they're still bad but a little more grown up
State of Mind, Logistics, Craggz and Parallel Forces, Ed Rush & Optical
Top: State of Mind, Logistics. Bottom: Craggz and Parallel Forces, Ed Rush & Optical
We are a drum'n'bass nation thanks to acts like Shapeshifter and Concord Dawn. But this is not a column about barbecue drum'n'bass people, this is about real-deal, fired-up dancefloor drum'n'bass.
It seems this style has gone a little quiet and only to be found in the doldrums of dingy clubs.
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