In the relatively short existence of Modeselektor’s 50 Weapons imprint, they’ve managed to establish themselves as patrons of modern bass music, housing sensational and divergent records from the likes of Cosmin TRG, Benjamin & Doc Daneeka, Shed and Anstam. Next up on the Berliner’s label is debut album from Anthony Williams’, Addison Groove alias.
The artist formerly known as Bristolian dubstep producer Headhunter, started life releasing a string of 12’s on seminal label Tempa back in 2007. In 2010, seemingly out of nowhere, Williams dropped the footwork hybrid and all round bass anthem ‘Footcrab’, which can be credited as the main catalytic influence on the mutliple mongrel forms the music from Chicago has taken of the past two years.
On first impressions, as polished and well-produced ‘Footcrab’ was, it lacked the raw aesthetic and offensive charm that I admired so much about the world of ghetto house and its various offspring, and it was hard to establish whether that was a problem or a welcome change. If you were looking forward to a straight footwork album from ‘Transistor Rhythm’, you will probably be disappointed. Instead the album is a huge bubbling rave cauldron, that’s full of surprises.
‘Bad Things’ and ‘Beeps’ both featuring the debauched tongue of Spank Rock, hark back to classic DJ Funk mainly because of the stuttered repetition of “pussy” and “fuck / fuck / fuck you bitch”. From a production point of view he’s taken the blueprints of footwork and re-drawn them with those fancy glitter gel pens the girls used to have at school. No matter how closely he sticks to the basic frame work of those old records, the high-sheen factor of the production gives the album an celestially modern feel.
With ‘Rudeboy’ there’s a let up of force with its jazzy, gliding chords. But you’re quickly unsettled by the Mad Decent rave carnival of ‘Sooperlouper. Some of the highlights come in the latter part of proceedings, with the driving growl of ‘Ass Jazz’ and the diva vocal work out of ‘Skylight’. Williams really saves the best for last though, the collaboration with Mark Pritchard on ‘Dance of the Woman’ is a beautifully insane fusion of afro and booty, whilst the ethereal craft of ‘Entropy’ ends the album on a high. It’s the moments where William’s extends his musical palette that shine through in this album, I just wish there were a few more. The general feeling at the end of this album is one of confusion, but it’s a pleasant confusion all the same.
‘Transistor Rhythm’ is available now via 50 Weapons.