Adam Freeland - Global Underground 32: Mexico City
Adam Freeland is the DJ, label-head, and producer most often noted for the fusion of breakbeat and techno, also termed "nu-skool breaks." Therefore, I expected to hear a bit of breakbeat tradition when I inserted the Mexico City CDs into my player! After all, Freeland began DJing in 1991, originally mixing deep house and later drum 'n' bass. His remixing credits include the Orb, Headrillaz, Orbital, Deejay Punk-Roc, and Dylan Rhymes. So, if you're like me and are expecting an out-and-out breaks mix, then don't get your hopes up! Fortunately, the mix rocks in other ways, so hold on to your dance engines!!
Adam Freeland is at the forefront of a new sound, "drone step," a genre that is growing rapidly across the US, UK, and Europe, and that's roughly characterized as tripped-out rock music with a dancefloor attitude. Imagine swirling walls of hypnotic guitar enhanced with club beats! To some it's likened to shoegazing on ecstasy, owing to the likes of My Bloody Valentine and Slowdive, as it does the chemically induced tones of current electronica inherited from the rave scene. Frankly I imagined a combination of Boards of Canada meets Richie Hawtin.
Thus, this release represents an evolution and turning point in the Global Underground series; similar to the time of the release of Deep Dish's Moscow mix, which took the series in a more progressive direction. Progressive is accurate of Freeland's choice of sounds here, relying heavily on simple trance beat structures, distorted noise patterns, and a plethora of novel sounds. It will probably make a lot of new fans for the label, but it will also lose a lot of those who are used to the former Global Underground sound.
This double-disc production features tracks and remixes from Gui Boratto, 120 Days, Spacemen 3, James Holden, Super Discount, Mr. Oizo, Justice, Fujiya & Miyagi, Para One, and Andrew Weatherall, among many others. My favorites started with the first track kicking it off - a totally raw analogue synth number – Faze Action's "In The Trees." I assume that I had to love Mr. Oizo's track, "Half an Edit," a totally wacky diversion into techno change-ups and splicing. Then Adam Freeland's "Silverlake Pills" provided some good old-fashioned electro-rock! On disc one, there are about six songs that perfectly roll together in a post-techno-frenzy. Starting with Jape's "Floating," then "Disco Sux" by Beauty School, "37" by Oliver Huntemann, "Phantom" by Justice, "Deadly Weapons" by Minimal Compact, and "Bump" by Spank Rock, Freeland connects chaos together like a completed jigsaw puzzle.
On disc two I favored 120 Days' "Come Out" with its strong male vocals, Gui Boratto's remix of "Terminal" with its winding synthesizers and James Holden's eerie doll-esque (Chucky meets Toy Story) haunted voices. Concluding the master mix is Mylo's "Paris" with its Beck-like tones and finally Adam Freeland's own "Self Indulgent Ending," a dark rock number.
Brazen, buzzing, saw wave synths provide an "in your face" opening that suggests Freeland doesn't particularly care what his listeners will THINK of this mix. The bottom dance line is that he throws that strong trance beat to underlay these obnoxious juicy analogue music lines, and the result is something totally different, new, and a bit sinister. Let the squeaking begin!! Perhaps, only for the headstrong!