Matt anniss plus#

That came in the chart-topping “Live at S.S.L” version of “3AM Eternal”, where the famous bleep melody from Sweet Exorcist’s “Testone” can be heard at a number of points. Given their reputation as sonic magpies – or, if you’re a little less generous, thieves – it’s perhaps unsurprising that the KLF would at some point doff their cap to Bleep & Bass. The KLF 'What Time Is Love? (Moody Boys Vs The KLF Mix)' Blessed with insanely low, weighty sub-bass, typical Bradford bleeps and a crunchy, snare-heavy beat that sits somewhere between hip-hop, dancefloor reggae and electro, it’s a speaker-busting workout that deserves far more props. Fusion cut “Digicality” is, in my opinion, criminally underappreciated. In other words, if you listen to it from start to finish, you’ll not just hear weighty Bleep anthems such as “The Theme” (the record that started the movement), but also cuts informed by hip-hop, dancehall, dub, electro, Chicago house and Detroit techno. In 'Join The Future', I described Unique 3’s debut album “Jus Unique” as, ‘the only album to mix the key elements of the style – the bleeps, the rumbling sub-bass and the skittish percussion programming – with the sounds that influenced its creation’. Incidentally, “JazzOut” is accompanied on the same EP by “JazzIn”, quite possibly the only Bleep cut ever to boast jazz guitar solos. Somewhat irritatingly, the sound quality of the original pressings is dreadful – or at least nowhere near as bass-heavy as it should be. It was created by Bahar sometime after he parted company with Unique 3 (he worked with them on “Only The Beginning” and “The Theme”) and appeared as part of a white label on Huddersfield’s Tribe Records, an imprint that vanished almost as fast as it appeared. “JazzOut”, a rare and hard to find solo track from Bradford producer The Mad Musician (real name David Bahar), is a fine example of this.

One of the things that marked out early Bleep & Bass cuts – aside from the bleeps, bass-weight and raw production – was the way that the bassline was often used as either the main riff, or shared the same pattern as the top-line melody. On a different day I would have picked an entirely different set of tracks!' This is what Test Pressing is all about. As he said, 'there are tons of others I could have picked – these sprung to mind.

Matt anniss plus#

This is a sound both myself and Piers love so I'm discovering track after track plus it was also a perfect excuse to get in touch with Matt and ask him to make us a list of the tracks he thinks people might have missed. In 2021, Rolling Stone UK cited it as one of the best non-fiction books on British dance music culture.īefore & after we'll have celebrated Bristol DJs Chris Farrell & Andy Payback (of Under Heavy Manners & Idle Hands influence).Journalist Matt Anniss has written a superb book 'Join The Future' subtitled 'Bleep Techno & The Birth Of British Bass Music' which we can't recommend enough. Anniss has researched with real energy & focus, mixing social, cultural & oral history to capture the details and reflections on the influential time as well as posit a persuasive argument that the bleep techno scene could be considered the foundation of what many now call ‘UK bass’ (that collection of styles that put heavy sub-bass to the fore). Join The Future traces the roots, origins, development and legacy of bleep & bass (sometimes known as ‘bleep techno’), a highly influential but previously overlooked style of UK dance music that emerged from Yorkshire and the Midlands from 1988 onwards. It's a great honour to welcome our friend Matt Anniss for a Q&A discussion around the publication of the expanded edition of his book Join the Future: bleep techno and the birth of British bass music, a critically acclaimed landmark text on the alternative history of UK dance music in the acid house era that author Matthew Collin cited as ‘a significant addition to the canon of dance music literature’.