While the widespread availability of home PC's and free sequencing
software has resulted in a glut of home made techno on the net,
only recently has the DIY sensibility found it's true expression
online, in the form of Speedbass. Like postmodern pranksters, the
exponents of the Speedbass sound mock the autonomy of the music
industry, parodying its' cliches while courting its' acceptance.
"Barnstorming" the Midwest USA at speeds of 150 - 300 bpm Speedbass
is the newest techno sub-genre, a postmodern cut up of electronic
styles whose tracks are distributed exclusively via the internet.
The term Speedbass was first coined by Producer/DJ Terbo Ted in
late 1998, and in the few months since then an online community
has sprung up to fuel the progression of the fledgling musical form.
Speedbass is described by it's proponents as an explosion of generic
convention, though Drum and Bass, Gabber, Dub, and Rockabilly are
often cited as musical influences. Discarding the "fluff" of other
genres Speedbass producers favour hyper accelerated breaks and beats,
which slide uneasily over the surface of warped subharmonic bass
lines (a favourite Speedbass gag is to subject the listener to subsonic
test frequencies). Inane vocals co-exist with hillbilly banjo, and
sound effects gleaned from the vast sample archives of the internet
are thrown in for good measure. Clearly stylistic consistency doesn't
rank very highly with Speedbassheads, as they happily mix up a smorgasbord
of aural excess where the only concession to uniformity is that
a track must feature "fast beats and lots of BASS."
Demonstrating a punk rock DIY sensibility Speedbass producers seem
to delight in outmaneuvering the constraints of the very musical
category they have created. In the six months since it started Speedbass
has now splintered into a number of sub-genres: Porn Bass, with
audio samples from adult videos; Bass Rodeo, which incorporates
traditional Mexican and Country Western bass lines in doubletime;
and Mutant Bass, where extended bass solos, tempo shifts and dub
effects are more prominent. And Speedbass fashion is as much of
a stylistic pastiche as the music it accompanies. As most parties
take place in remote locations, and since most of the locals are
loggers and ranch hands, Speedbass dancers trade in urban rave wear
for backwoods camouflage: cowboy hats and logging pants are the
uniform of preference. And surprisingly the drug of choice at these
outdoor gatherings is not the rush inducing methamphetamine you
might expect, but a slug or two of good old fashioned moonshine
whiskey.
As one observer of the fledgling scene has pointed out, there is
no real consensus as to what constitutes the Speedbass sound and
style, or whether the tunes are actually any good in the first place.
But then in many respects it's not the sound that makes Speedbass
interesting, rather how the music is made and distributed.
For the past year it has been widely predicted that the MP3 format
will revolutionize the music industry, putting high quality audio
compression and distribution in the hands of the consumer. By compressing
audio data to file sizes that can be easily downloaded, even with
a slow connection, MP3's coupled with cheap CD writing hardware
pose a serious challenge to the recording industry. Putting theory
into action, Speedbass producers not only source most of their samples
on the internet, but distribute their tracks free as MP3's from
numerous homepages, or with a software program called Hotline which
allows the almost instantaneous dissemination of samples, new tracks
and information. Rather than rely on the traditional vinyl dubplates
to fuel their roving parties, Speedbass DJ's download new tracks
from the internet and burn them to CD for mixing live.
In this environment of unhindered exchange, the metaphor of the
information superway is one that Speedbass followers have taken
to heart. Images of open Midwest desert highways are a recurrent
theme on Speedbass homepages, where the rallying cry is "No Speed
Limit!", recalling the cypherpunk assertion that "censorship is
just a speedbump on the information superhighway." But how long
can this utopian road journey last? Already there is talk of the
first "official" Speedbass vinyl releases, which will surely spell
the beginning of the end for a community whose ideals are based
on the free exchange of ideas. This is something that Speedbass'
proponents have predicted from the beginning: the co-option and
dissolution of their creation.
"We could fabricate a movement just as convincing as anything Mixmag
could dream up, but we could make it really silly and fun, and design
it so anyone could jump in on it and be part of it...eventually
it could become so widespread, the glossies would be forced to cover
it... then we could claim victory and begin to destroy the movement
as quickly as it was created." (Bob Mutant, The Bass Mutants)
This telling statement begs the obvious question:
is Speedbass just an elaborate hoax designed to poke fun at the
mechanisms of the recording industry? One thing's for sure, like
any good punk inspired movement the days of Speedbass are numbered,
so before these techno-cowboys ride off into the sunset you might
as well put on your dancing boots, saddle up, and join them on the
open highway.
The best known Speedbass website can be found at: http://www.speedbass.net/
Jonathan Nicol,
May 1999
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