Clash takes a look at the dance masters who smashed the last twelve months with their addictive bass manoeuvres as well as matching up the new generation of likeminded acolytes.
MASTER: Holy Other
Hear Holy Other's 'Love Some1' above.
Floating in some otherworldly berth full of mesmerizing, atonal murk came the works of Holy Other this year. Much like his identity and known location, the Tri Angle Records signing came with a debut album that was hard to allot.
Regardless, ‘Held’ and the cluster of bass ballads that lay within it mourned its way around the Internet drowning fans of The Weeknd, Clams Casino and How To Dress Well alike in a sorrowful, yet somehow alluring puddle of snail-paced mirage. Devoid of language, ghostful melodies on tracks like ‘Tense Past’ and the nocturnal loneliness exhibited on ‘Love Some1’ had the sinister ability to ruffle up emotion through sampled voices that when lengthened evolved into anguished gasps and tangible breaths.
Far from at home in a nightclub, these melodies were psalms for the late night walk home, dim but beautiful for what they were.
BEST BIT: The enchanting emptiness of album closer 'Nothing Here' that oozes love lost emotion
ACOLYTE: Downliners Sekt
Barcelona-based twosome Downliners Sekt are creeping around in a similarly shady vicinity and could be one of the next names to pop out of the proverbial EDM hat next year.
They’re far from newcomers, mind, with their collective originally being larger and leaning more towards the abstract side of things as exemplified on 2004’s ‘Untitled’ project. 2010 saw the first in a trilogy of free, four-track EPs in ‘Hello Lonely, Hold The Nation’, which translated the darker variants of post-dubstep and concrete jungle that were empowering the electronic scene at the time through its veins.
Just this September, their latest 12” emerged with ‘Trim/Tab’ adorning both sides of the plastic and introducing a developing brand of sonic work vaguely more block-steady and dancefloor-friendly. 2013 promises a full length longplayer from the pair in the spring which appears to seep just slightly more right than their current leftfield home. Hopefully, a few more mentions will fly in with its arrival.
BEST BIT: ‘Trim/Tab (Part 2)’’s stampede of industrial samples resemble an Oxford Street sales day crowd in sonic form.