“Bass utopia” murmurs the scatty voiceover on ‘Process RPZ’, one of the tracks from Fareed‘s latest EP. It’s out soon on the Warzou-helmed Big Science Records, a label that had previously only released on tape (first the cerebral crust-core of T:te, then the dub-dripping beats of NVST), but Fareed’s sounds are delivered on 7” vinyl – perhaps a nod to that originary bass utopia of the Jamaican sound system dance, where these tiny discs had an uncannily gargantuan affect.

Standing on this sub-massive foundation, the Parisian producer also points to its musical tropes, but with a wand of dark magic.’ Ruins’ is a lead-heavy mutant dancehall cut that neatly reflects this thundery August period; in its latter half it morphs into a violent junglist exorcism, summoning the blackened grooves of drum & bass’ more occult offerings. Think Ed Rush or Doc Scott with their heads twisted all the way round. Process is equally petrifying, with its oblivion bass drops and paranoic atmospherics.

Fareed’s productions for Hilltop Imprint, Maze Records and Construct Re-Form Records tended towards a techno sound, but the rhythmic complexity was always there in his programming of breaks. It’s exhilarating to hear this translated into these new explorations of half-time signatures and sub-weightiness.

BGSC2003 is out October 15th on Big Science Records | Pre-order here

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