Busy P was, is, and always will be where it’s at. I don’t know where this guy gets his ideas from, but whether he’s got a tank of manatees pulling musical notes out of a pile or he simply purchased a relentless creativity chip from some weird corner of Ikea, anyone who’s owned a pair of headphones within the last year can tell you that the guy has got more musical gravity than just about any other entity in the electro universe. I suppose I could discuss his having detected the potential of multiple internationally successful artists before their sounds were even remotely popular (The guy opted to manage Daft Punk way back in the early nineties, before they’d even acquired a record label, and I’m guessing we’ve all heard the rags to riches story of Justice’s one-song, chance encounter with Mr. Winter. Look where they ended up!), but I feel that there’s even more glowing potential in the French Producer/Ed Banger owner’s own original works. Where most producers tend to have a decent ear for what people know and love to hear, Busy P has the considerably rarer ability to know what listeners don’t know they want to hear. Confused? Let me explain:
Remember 2006? Of course you do. That was the year Justice released their turn-the-world-upside-down Cross album, and hence, that was the year that the electronic scene was driven entirely by steady kick-snare beats and tricky, glitched out transitions. But while our faithful Justice and their nine-hundred spinoff counterparts were all following the same 123 bpm formula, Busy P had already begun to push his standards to entirely different places. Personally, I was drawn in by the Rainbow Man EP, which, though it drew several elements from the trendy hits of the time, had an unusually sedated drive to it, which managed to make it that much heavier. From there, though, colors started flying. A few months ago, To Protect and Entertain tapped into the Electro/hip hop crossover genre (one that happens to have become more than just a bit popular as of late) at a time when few more than The Chemical Brothers had even touched it, and apparently having already moved on, P’s latest track, a remix of Das Pop‘s Underground, has nearly combined the weird Helium voices of Bass Kleph’s aptly titled work with a mess of frumpy, windy, slidy synths that’ve got me saying nothing but mmmmmm mmm MmnmLOL. Let me assure you that no matter how you try, it’s likely impossible to comprehend Busy P‘s train of thought, but if you take the time to appreciate this mix friendly blend of whacky confusion, (in addition to grabbing one of the most well produced tracks in quite a while), you might, at least for the moment, feel like you have some sort of clue as to what’s going on.
Das Pop – Underground (Busy P remix)
And just so I don’t leave you with only a single track with which to occupy the rest of our night, I figure I should probably help spread the latest by Van She Tech (special thanks to Discodust for the heads up). The track has got a definite Russ Chimes feel to it (I guess the Nu-Disco-ish influence is spreading), but a careful bit of side chaining every now and again definitely gives it a unique touch. Sometimes I wonder just how far off the map Van She Tech would have to wander to screw up a mix. Thus far, I’m convinced they’re invincible.
Walter Meego – Forever (Van She Tech remix)