ANY BPM Vol.1 is a various artists compilation curated by Bristol collective and label excess, with all proceeds to be donated in support of the Music Venue Trust’s #saveourvenues campaign – a charity providing aid to the UK’s most vulnerable live music venues. Over 15 tracks, the project showcases a diverse range of underground dance music, featuring artists both established and unsigned from Bristol and beyond.
Up and coming garage DJ & Producer Longeez kicks off ANY BPM on “All Da Clubs”, a fitting ode to nightlife in the UK, as the familiar sounds of a nightclub entrance build into a thumping old school garage beat propelled by a stabby piano groove and sub heavy kick. Daffy keeps the garage vibe running with the infectious “Sun Kissed”, layering slick bass riffs with vibrant strings fit to match any mid-summer day party. Larus takes over for track 3 with his debut “No Game”, a steppy, melancholic outing featuring rolling drum patterns entwined with lush keys and a soulful vocal sample. Making a departure from his usual breakbeat heavy sound, PanicMan brings a tight 4×4 workout on “Let’s ‘Ave It Right”, with rattling percussion filling out the high end, while a boisterous vocal proclaims ‘we already run the streets out here’. RAPH’s “That’s Some Pressure” delivers a dose of classic electro to the record, laying down mechanised staccato drums topped with a pulsing sequenced bass.
Fresh from a run of EPs on Slippery Sounds, Brighton producer Equus ups the intensity with acid-techno tearout “Nosebleed”, giving centre stage to a mesmerising synth hook that reverberates throughout the whole track. Track 7 brings the warped productions of An Avrin to the album on oddball banger “WHAT U GOT?” as gurgling, screaming synths dance over choppy amens and heavy 808’s.
Grace switches up the energy at the halfway point with “Baby”, a gloomy, emotional 140 anthem in keeping with the Bristol based producer’s signature sound. Sydney’s Mincy continues the 140 shakedown with the deep, spacious “Hektoplasm” folding lush, wide pads over beating percussion and a hazy vocal. Fellow Australian Ape Suit follows up with the dreamy “Ok, Yeah” with bright, melodic bells set against a selection of powered-up bass sounds.
The BPM shifts upwards on DROMEK’s “Meddley” – a frantic footwork jam, littered with intricate percs playing off a pitched sample that flits between half and double time grooves. The energy doesn’t falter as Goldefish blends breaks wizardry, Indian acid and rumbling detuned basslines for “Sad Horse Raga”, an expertly crafted slice of modern jungle pressure, absolutely crying out for a system to be played on.
Moving into darker territory at the end of the album, Borai’s breakbeat slugger “Caterpillar” provides murky atmosphere, brooding pads and throbbing bass while Brighton’s ETCH flexes his break chopping abilities as he unleashes a barrage of drums and sub hits with stripped back jungle cut “The Tone of Regret” – these tracks showcase the skills of two of the most exciting producers in the UK underground right now. TROPHY rounds out the record, with the Leeds producer and TRAX HAVEN alumnus delivering possibly the switch-up of the year (just wait) on “We Got” – a swaggering halftime rhythm that shows off low-slung, punchy drums and a well-executed wobbling bassline.
ANY BPM Vol.1 releases via excess on April 9th 2021, buy via Bandcamp.
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