Fanu launches his assault on the world of breakbeat with his new album Departure, a thorough journey into Jungle and Drum and Bass drum pattern progressions.
Overtones are as diverse as you’d expect from Jungle and Drum and Bass with tracks taking inspiration from Jazz and world music. Whatever the listeners preference there’ll be something to take the mind on a rhythmically hypnotic journey.
Buy – Fanu – Departure
Fanu launches into his beats manifesto in strong style, treating ears with some classic drum movements, laced with memory invoking Jazz overtones. Drumsö Fuzz is a wonderfully hypontic piece perfect for any moment, fast and slow, chilled and energetic
Street Sermon (5:18)
Taking us down the route of serious cross drum pattern trickery Fanu keeps the Jazz favours rolling but takes it lower on Street Sermon. A powerful bassline kicks in on the break making this one to shake the floor with.
Hop and Bass (3:52)
After the first few seconds the funky vibes of Hop and Bass become apparent all coupled up with a sub rolling bassline there are overtones of old school Aphrodite all over this track, very nice to here
Ranch Dance (4:59)
Fanu mixes up the tempo on Rauch Dance, choosing a 120 bpm and sticking to the signature raw drum sounds but ditches the Jazz for some eastern inspired vocals. It’s worth staying locked in on Ranch Dance through, as Fanu chops in some experimental drum work of his own
Too Blessed to Be Stressed (6:04)
From the outset Too Blessed to Be Stressed feels like the most accessible piece to all the DnB regulars. Despite this Fanu has more instore for the ears as the gradual progression of Too Blessed to be Stressed quickly reveals its glitch nature, let the drums free my boy!!
Holograms is a dark hypnotic piece, peppered with tribal percussion and vocal structures. Fanu underpins all with a low relentless bassline.
Fanu continues to display his skill at beat development and escalation on Waxcavation. A journey through a myriad of drum and patterns, jazz overtones and deep down bass stabs. All in all a technical delight to the drum and bass tuned ear.
The Unconscious (4:56)
Possibly best described as a dark, frantic journey into Fanus very soul. Hypnotic and menacing stuff.
Dirt invokes some real good memories from the days of early Moving Shadow. A serious piece, tainted with darkness, piecing open snares and a what only could be described as a remorseless bass line
Like This Girl I Once Knew (2:58)
Fanu takes a break from all the darkness on ‘Like This Girl I Once Knew’, to provide a wistful funk fuelled break.
Fanu closes the album off with Pääteasema an airy break beat number, awash with high layers. Still until the very end Fanu seeks to mix up the rhythmatic with some interesting beatetudenal blending.
Beatetudenal blending = To use un expected rhythm percussion in the same setting (haha – kidding)