Frequencies of 2014: Bass/Beats
–Words and list by Kevin Madert
End of year “best-of” lists are a funny thing. First off, they’re entirely subjective – unless you rank based upon sales, which we all know is often the least relevant factor when considering a work’s merits. Second, they’re often far too ambitious and broad in scope. “The 50 Best Songs of The Year” looks good on the top of Rolling Stone’s website, but what the fuck does that actually mean? The editors and content compilers didn’t listen to every single release from January 1 to December 31, and even if they had there’s no way they could sort through the sheer volume of material and pick the definitive top 50. (Side note: Rolling Stone’s #2 song of the year was “Turn Down For What,” so their grasp on the definition of the word “best” is questionable.)
In my mind, a “best-of” list should mutually benefit the writer and the reader. Rather than futilely attempt to decide which songs or albums or artists were the indisputable winners, these lists should be cross-sections of the year in their respective musical spheres. I’m not here to be the pompous judge over some imagined contest that you signed yourself into appearing in solely by releasing music in the last calendar year. I’m just here – as always – to share the music I enjoyed too much to not talk about with anyone who’d like to hear it.
That’s the “Frequencies of” series. The music that got to me most in 2014 – that got my head nodding, that sent goosebumps prickling across my skin, that had me screaming at the top of my lungs – placed in a handful of semi-specific categories (for organizational purposes more than anything else). Am I telling you these are the best things released all year? Certainly not. Am I telling you they’re all great, and suggesting you check them out in order to grasp a more complete picture of the year in music? Absolutely.
Gramatik – The Age Of Reason
An album released in January that can still make year-end best-of lists has what we call “staying power.” Slovenian beat-banger Gramatik knows plenty about that concept, having maintained a spot near the top of the ever-growing future-funk/bass landscape even as dozens of emulators and contemporaries have popped up in the last few years. Anyone wondering how he does it needs only listen to The Age Of Reason for a concise, groovy explanation. From the epic six-minute opener “Brave Men” we see Gramatik at his best – using all his technical expertise and pre-developed style to take risks and maintain forward progress. The parade of guest artists is equally impressive, with Gibbz and Eric Krasno being our personal favorites. With a thriving independent label (Lowtemp), a supergroup sideproject (Exmag), and no shortage of funkiness, here’s hoping Gramatik makes our best-of lists for many years to come.
Opiuo – Meraki
If not for tropical house, 2014 could easily have been the year of the broken beat. New Zealand native Opiuo led the charge with Meraki, his first full-length since 2010’s Slurp & Giggle. There’s a little bit of everything here, from slow-paced dreamy numbers like “Spuzzle Bucket” and “On Your Side” (the latter of which features a nice turn from Russ Liquid on horns) to more upbeat and out-there tunes – Beats Antique collab “Chubby Putty” stands out there. The ambiance album-wide is a work of meticulous craftsmanship, immersing the listener in Opiuo’s funk-filled world from start to finish. Whether penning an album, a single or even a remix, Opiuo makes music that leaves me desiring more, and Meraki is no different.
Bassnectar – Noise Vs. Beauty
Charting the evolution of Bassnectar – even in the past few years – is a monumental task. His body of work is constantly growing, his “signature sound” is constantly changing, and he rarely slows down to give anyone (himself included) a breather. That being said, his most recent album is perhaps his most straightforward in recent memory. Many of the tunes on NvsB follow a build-drop-build-drop format – not new for electronic music but certainly a departure from the intricacies Bassnectar is often known for. This doesn’t mean they’re unenjoyable or not quality, they’re just a bit simpler. By focusing on the big picture & eliminating some extraneous details, noise and beauty are able to shine through that much brighter. Stand-outs include “Gnar” (a hell of a collab with The Upbeats), “Hold On,” and “F.U.N.” with longtime collaborator and album mastering engineer Seth Drake.
Defunk – Back To The Funk
Mark my words, Defunk is on the way up. This time next year he’ll be appearing in more best-of lists than Will Ferrell could shake a cowbell at. Any proof you need is contained in Back To The Funk, the Canadian’s sophomore album that’s track for track one of the most unique offerings of 2014. “Funkatronic Masterphonic” kicks you in the teeth as it kicks off the album with a computerized introduction message followed by an accurate representation of the rest of the album – familiar instruments used in unique ways, unexpected musical twists, non-repeating builds and drops, and an attention to detail previously thought impossible to attain. There’s drum ‘n’ bass (“All That Jazz”). There’s downtempo future-bass (“Take Me Out”). Shit, there’s even a Rage Against The Machine remix (“Rage Against Time,” one of my personal standouts). Expect plenty of coverage on this guy in 2015; if anyone out there deserves to hit the big time, it’s Defunk.
Moon Hooch – This Is Cave Music
The sophomore effort from this saxy, classically trained trio was one of our best reviewed albums of 2014. And with good reason; Wenzl McGowen, Mike Wilbur and James Muschler took the style they’d made their own in the past few years and pushed against its boundaries in all directions. Not content in stagnating, they experimented with all sorts of new production techniques and song structures, to almost overwhelming positive results. “Rainy Day” and “Mountain Song” exemplify this branching out, while tunes like “Bari 3” show the Hooch isn’t abandoning this previous sound, just adding to it. It’s unique, it’s new (yet familiar), and it’s danceable as hell; if you haven’t heard it yet, here’s recommending you check it out.
Cheshire – Simply Lifted
Between one of the best up-and-coming labels in Adapted Records and a cornucopia of overtalented artists like Cheshire, glitch fans down under seem to have all the luck. We gave him the Frequency of the Week treatment a few months back, and now the time has come to fully recognize him for his debut LP, the eclectic and inspired Simply Lifted. Few artists in any genre display confidence in their abilities the way Cheshire does on this album, deploying old-school nontraditional instrumentation atop layers of synths and bass riffs in a seamless melding of past and present. From the funk-pleading leads on “Snatchin’ It Back” to the playful bounce of “Clark Kent,” Simply Lifted progresses at a soulful saunter for almost its entire runtime; perhaps it’s this lack of urgency that allows each track to breathe and contributes to a more complete album as a result.