Point B - Free Standing Structure / 12"

Point B

Free Standing Structure

12" |
£5.49 £3.95
date in:
7/7/2009

catalogue number:
FRJ004

genre: Dubstep
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Description of Point B Free Standing Structure

After his excellent remix for Sully's 'Phonebox EP' last summer, Bristol's Frijsfo Beats is delighted to provide a home for Point B's latest and best experiments on the fringes of dubstep and UK garage. Point B previously enjoyed a swell of grass-roots appreciation for his material on leading UK electro label SCSI-AV - a sharp, intricately produced dancefloor twelve and an extremely thoughtful full-length. 2007's EP for Combat fused his techniques and sound palette with the rhythmic genius of two-step, an idea expanded and developed to its full potential on his first full Frijsfo release. Opening track 'Detritus' is built around an unbreakable backbone of kicks, woodblocks and dense sub-bass growls. Tweaked techno stabs sustain the pressure until our man drops a mean but tastefully executed snippet of Distance-style bass guitar and an atmospheric post-Skream melody. 'No Smokes' is a tense meeting between two-stepping beat patterns and stiff electro-funk, illustrating Point B's marked distinctiveness. Graceful soundtrack synths smooth over, only to get re-jigged for mashed-up dancefloors by fragments of a caustic acid line. 'Isocity Meter' boasts an even brisker, more invigorating arrangement, dominated by huge, metallic bass tones that sound as if they're being collided and yanked apart by an elastic sense of rhythm. Finally, Italian Frijsfo discovery Kuoyah contributes an unbelievable remix of 'Someone Else's Past'. His trademark loose, unevenly oscillating beat constructions are fascinating in their own right, but take away nothing from the rolling, dark two-step vibe. Any DJ who feels a connection to dubstep's more esoteric creative zones should find themselves playing this as the days grow longer.

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Also on Frijsfo Beats

Artist:Various Artists
Title:Frijsfo Beats Vol. 1
Label:Frijsfo Beats
This dubstep / grime / 4x4 / garage EP first dropped in October last year, laying down a clear marker for the varied styles which Frijsfo Beats was set up to support. Writing in The Wire, the Bass Generation's verbal blade Joe Muggs opined "Over recent years, a fertile territory is opening up where current bass music and the free party scene intersect, drawing from Grime, DJ Trace style dark Techstep, Vex'd at their most melodramatic and the sharper edges of breakbeat honed by Tipper and Amon Tobin. Labels like Blackmass Plastics have staked claims here, and now so is Bristol/Cambridge enterprise Frijsfo, with big, glossy Blade Runner-style tracks from Chav & Dave and Innasekt. More interesting, though, is the flickering, skittering Boxcutter-like unfolding narrative of Lewis Hunter's 'Cut From The Wreckage' in which bass thrums and breakbeat flutters surge in and out of existence like ghostly electrical storms. But the real prize here is Yapsta's 'Zoompy Riddum', which foregrounds the retro-rave strategies innate in current Bassline House, bringing out a womblike warmth with ecstatic pads and voices but avoiding becoming too cuddly by retaining Bassline's brisk bass-warping and threatening detuned arcade bleeps."
Artist:EDMX
Title:2K3 Beats EP
Label:Frijsfo Beats
Frijsfo Beats welcomes on board electronic music hero Ed DMX, aka DMX Krew. Ed offers a new kind of treat from the archives, fusing two-step swing and spacious dubstep rhythms with his immediately recognisable analogue electro style. Although the material on this four-track EP dates from 2003-4 and has been quietly maturing on Ed's hard-drive since then, now is the right time for these atmospheric tracks to see the light of day, with the demand in the dubstep community and beyond for fresh takes on post-garage bass-drenched electro music never higher. Fans will know EDMX from his prolific output on Rephlex, Breakin' and a wealth of other labels, and his ability to mutate a Detroitesque electro sound into sick hybrid forms is something he's ably proven again and again. An instant sell-out on first release back at the start of February, now repressed for all those who still need to pick it up.