Glenn Underground – House Music Will Never Die (Glenn’s Afro Dub)
As the producer’s name suggests, Glenn Underground breathes for the underground scene. A descendant from the local pioneers such as Larry Heard and Lil’ Louis, he has taken the mantle of preserving the soul of House. ‘House Music Will Never Die’ is a heartwarming tribute to the dancefloors of The Warehouse, an anthem for the streets once ruled by Frankie Knuckles.
From the intro, clanging hats and cowbells pave the red carpet for the hefty synthesis of a robust kick & an eminent subbass progression. The power of dubbed bass gives the sound an elevated tier of thump. The super low ends that you’d find in a dub mix contrasts with the higher range in the melody. Paying his dues to the genre’s history, Chicago-born Cei Bei sings:
‘Originating from Chi-Town, House Music will never die.’
The singer often produces songs with lyrics that carry the essence of the early House music community. In ‘Dance Tonight’ he shouts out major world cities from the hotspot of Chicago. All is done with a sense of a virtuous spirit of fellowship immune from material greed. It is all about the music. Bei has previously collaborated with key players in the Illinois scene including Ron Trent, DJ Pap & Abicah Soul. His ability to combine serene with the vibrant vocally is transparent in Glenn’s Afro Dub here which gold-plates the production. Continue reading
Satoshi Tomiie – Bassline (Original Mix)
Japanese DJ and producer Satoshi Tomie was blessed with the opportunity to work with Frankie Knuckles on their 1989 release ‘Tears‘. Clearly the collaboration left an impression on the young prodigy. Nearly three decades later, you’ll find Satoshi release a banger that carries the spirit of Chicago. ‘Bassline’ is a direct descendant of the Dub Version of Mr. Fingers ‘Mystery Of Love‘. Except here we’re not getting a Kanye West hip hop interpretation, but an unfiltered house track.
With a no-nonsense intro, the track jumps into the main bassline quicker than a swarm of piranhas devouring its bait. This rolling structure persists throughout the rest of the track. Our favourite extract is the mid-track section where the bassline literally saturates. It’s erosion tickles the ears, meaning when the standard loop is brought back into play, the swaying crowd experiences its full impact. Dana Ruh’s remix takes a different direction, transforming the original into a deep house weapon that maintains an essence of zestfulness.
Satoshi’s production is akin to Kevin Saunderson’s sense of stabile structure. Ironically, for a student of jazz and classical piano (according to Resident Advisor), the track remains patterned. Perhaps the new generation of club-attendees need a fresh take on the soul of the 1980s classics. If that’s deemed to be the case, then ‘Bassline’ is a welcomed guide.