UK’s Oli Brand, aka Beaka, does not pull any punches for his Infinite Machine debut. With 4 tracks of ruffhouse antics, the self-titled Beaka EP is an exercise in coaxing out the multilateral efficacy of UK bass.
InDisguise is subversive 4/4 tech-house banger, functional as both a set highlight and a DJ tool, slow-burning with urgency via its driving vocal snippet and slithering slabs of acidic bass, before briefly and cunningly exploding into strobing laser madness, only to quickly wrangle us back into the main groove.
Killjoy is dubstep-in-beat-only, in the vein of fellow bass luminaries Paleman, Akkord and Objekt. It features restless percussion skittering around a neck-snapping halftime beat, with grimy square subs billowing from underneath. Dubby chord washes evoke a gray cityscape, while an 808 lead melody raises the contrast and lowers the gamma on that mental picture, resulting in the darkest offering on the release.
Subconscious and Timelapse, on the other hand, employ similar production mechanics as the previous two tracks but take the swung, stop-start garage route, bringing in vocals to convey a different outlook for the monochrome urban aesthetic – a celestial and hopeful one.
Beaka’s output is one that is comfortable both in club and in home-listening scenarios, and Infinite Machine is proud to present a release that so deftly showcases his versatility.