Breakbeat Era: Ultra Obscene

Drum 'n'...rock?

Once upon a time, a 12-inch tune called "Breakbeat Era" came out of the U.K. musical mecca known as Bristol. It blew up the underground drum 'n' bass scene and found its way into the hearts and crates of every self-respecting DJ around the globe—a loopy, descending funk bassline over raw, scatty beats, under the hushed punctuations and swells of the jazziest, sexiest voice since Billie Holliday. It changed my life.

Landmarks like this always demand a follow-up, which is why Breakbeat Era's Ultra Obscene has been the most anticipated drum 'n' bass LP of this year—after all, it's a Roni Size side project. However, while that first legendary 12-inch was a dance record aimed primarily at DJs and clubbers, this album seems to be an attempted crossover, made with home listeners and the general public in mind. The result is more song-oriented, more emotive, more hook-filled, and ultimately, more...rock. The opening of the title song combines fuzzy synth bass, spooky chimes, and Lennie Laws' voice again, moaning bluesily through filters, "Ultra obscene...you and me...skin on skin...ultra obscene." It's a strangely Garbage kind of moment—actually, it's a strangely Garbage kind of song, complete with theatrical, climactic breakdowns. Instrumental tracks like "Late Morning" place DJ Shadow-esque soundtracky arrangements over a more studio-manipulated breakbeat aesthetic.

So far the drum 'n' bass press has shown nothing but glowing admiration for Ultra Obscene, and it is still growing on me. At the same time, most of this disc is hard to get excited about. Except when "Breakbeat Era" comes on—the album is worth getting for this track alone. Otherwise, it's just a little too up-front angsty, too heavyset in a way that is antithetical to what good dance music is about. (A&M)

—Eugene Chung

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