When this disc came across my desk, the first image (or sound)
that came to mind was many a bass-thumping car that was rattling
from the volume. As a bystander to such pounding displays
of sound, it was hard to gauge the quality of other sounds
available in such productions. Once I got the CD going in
my office, I found the non-bass elements to be an interesting
addition to what most people do get to hear.
Ryder Style is unashamed at being an electronic wall
of tones and looped sounds. There's no radio-friendly music
single here and the whole album is composed of looped beats,
patterned tones and a lot of electronically sampled versions
of piano and string arrangements. There are some vocal samples
here, but there serve as an additional layer of sound.
The album opens with the demure Our God In A Way is Bass,
which slowly builds to its casual beat and looped voice samples.
The thumping bass is intermitted, as if to slowly draw the
listener in. The album then shifts to the more cocky and upbeat
Caught in a Basstrap, which plays as a nice balance
to the first song. Take a Low Ride is a pretty fun
track as it features a catchy beat that flows over the dragged-out
tone of the deep bass. The sampled and looped piano and horn
pieces pop up enough to give the track a nice body to it.
Smoky Bass follows with a laid-back feel to hint, dropping
Santana-like guitar moments to add a certain flavor
to the track.
Da Vibe's first few notes feel like an early Britney
Spears track, but fortunately shift to a more standard
bass and swagger heavy tune. Speakerblower is as its
name states - brutally heavy on bass tones and intermixed
with sharp treble tones and a crisp and swift beat. Fonky
Ride has a catchy little opening that feels highly influenced
by Stevie Wonder. It shifts into a more bass-heavy
take on the same theme, looping in the original tones into
the mix. Planet Bass opens with deep dark tones and
moves slowly towards a more casual and laid-back tune.
Wanna Get Down starts with some racing sounds mixed
in and then builds into a high tempo beat that's pretty infectious.
Chase the Bass features a more playful and clean bassline
that dances about, accented with a more high-pitched electronica
experience. All Your Bass Are Belong To Us, named for
the infamously mistranslated line in the videogame Zero
Wing, features a nice pulsing bassline that makes up for
the pun that is the track's name. The album ends on Mellow
Submarine, a laid back, low tempo song with deep bass.
To really appreciate an album like this, one has to have
a pretty good car stereo. The bass tones create a surround-sound-like
wall of tone that pulses and throbs. Within this resides the
more higher pitched tones, creating an interesting aural experience.
Is this album for everyone? Not really. If you have a really
good car stereo or have a fine appreciation for electronica
or techno, there are some catchy tracks here well worth the
time to listen to. For the everyday radio listener, the experience
is sure to be lost and without a decent car stereo, one might
not really capture the complete feel intended. As an example
of the genre, I would say that Ryder Style is a good
place to start.
For more information, check out the record