Dylan Masvidal | Staff Writer
“Bass Is the Name of the Game” takes us way back in time, when hip-hop was dominated by regional styles.
The mainstream homogenization of the genre through echoing reverb and metallic synth leads has taken hold as of late, resulting in a lack of flavor that used to dominate distinction around the country.
East Coast rappers sounded nothing like West Coast rappers, who stood out from Southern rappers and vice versa.
But today’s bone to pick has less to do with change and everything to do with recognition.
In the midst of rap’s chosen children basking in the limelight was a rowdy stepchild with an appetite for rump shakers.
Miami bass’s reputation as the black sheep of the family can stem from several reasons, whether it’s 2 Live Crew’s historic fight for free speech or annoyance from purists at the annual one-hit wonders pervading the subgenre.
Arguments from oldheads are more dated than dinosaurs, only they harp on the same point consistently: accessibility equals mind-numbing simplicity.
Sure, tell that to DJ Magic Mike after you listen to his seven-minute album opener and try not to look stupid.
Good luck with that.
My South Floridian pride may be getting the better of me, which is ironic, knowing Mike is an Orlando native.
Nevertheless, not even hyperbole would be enough to describe how far he stretches and molds Miami bass into a juiced-up version of itself.
Think of Mike like a mad scientist, dissecting the sound down to its core fundamentals: movement and tempo.
If the goal is to get the party jumping, “Bass Is the Name of the Game” licks its chops at the thought of tiring you out until you’re hooked up to an IV bag.
“The House of Magic” swiftly lays to rest any doubts of the record being simple, taking a maximalist approach via a plethora of mixing techniques.
The track is a full-frontal assault of record scratches, sample chop after sample chop, and brazen button-mashing on the Roland TR-808.
Mike wears his electro influence with pride on “Drop The Bass (Pt. 2)”, masterfully operating his trusty crossfader to send shockwaves throughout the crowd.
Don’t assume Mike is a one-trick pony either, especially after listening to him blend Miami bass and breakbeat as if they were attached at the hip on “Rock The Funky Beat”.
Fear of being too commercial holds no weight in the mind of a DJ, a reality he’s fully aware of.
Their purpose revolves around audience participation; if nobody moves, there is no groove.
A sonic magician of Mike’s caliber also knows they can have their cake and eat it too, doubling down on tradition while still paving their own path.
And when the situation calls for it, it’s best to read the room and “Just Get Down And Rock”.
Manipulating a dance floor to do the Cabbage Patch and the Sprinkler subconsciously is a timeless art form.
Underestimate the power of rhythm at your own risk, because the bass always has something to say.
LOCAL CLASSIC/10
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