Serial number
CD DigiPak
Release date
24th August 2009

LISTEN TO_____________GAMMA



«It has been three years since London-born Tommi Bass dropped his first bombshell on Rednetic. The album, Tommi Lab Vol. 1, was followed by a second volume, released as a digital format on Rednetic’s sister net label Redose in 2007. Since, he has moved lock, stock and barrels to Berlin and spent time developing a blend of minimal techno much more in tune with the German capital than with its British counterpart.

Marking Tommi Bass’s return to Rednetic after a stint on Minimal People, Gamma showcases a much sharper and focussed sound than on his previous outings for the label, in line with his recent Purple Phaaze and Alfa Series releases. Occasionally reminiscent of labels such as Perlon or M-nus, the music collected on Gamma freely feeds from Berlin’s infamous minimal techno, injecting hefty linear beats and meaty bass-lines into rarefied soundscapes, where melodic themes struggle to find enough air to breathe, let alone develop. Everything on this album is geared up for the dance floor, from the swooping bass pulses of Gamma_1 and the pneumatic driving beat of Gamma_6 to the crawling dub-ridden Gamma_4 and the radiating filtered voice that appears to bounce off every beat on Gamma_7. Tommi Bass creates here an extremely linear and consistent set, each track dominated by a pounding bass/drums combo, but it is easy to miss the finer details that give each of them its individual slant. On Gamma_3 for instance, he adds a notion of decay by weaving crackles into his beat, and a sinister industrial undertone to the latter part of Gamma_5, while out-of-sync percussions threaten to destabilise Gamma_4. Gamma_6 in particular seems to harbour an extensive microscopic world under its rhythmic skeleton, fuelled by constant injections of noises which are then drowned in strong dub currents.

All the way through, Tommi Bass alternates between resolutely harsh and coarse techno forms and more rounded house grooves, but he still manages to keep the momentum going throughout the whole record. Gamma is a record with many more facets than it originally lets on, making it as much a record designed for the brain as it is for the feet.»


«Two decades on from when the term “techno” was first coined, it’s pleasing to report that one of the veterans of the scene, Tommi Bass, is still active in the genre. Although born in Britain he now calls Berlin his home. Thus we have ‘Gamma’ a collection of eight tracks, each imaginatively titled ‘Gamma’ and this album constitutes one part of his Radiation series of releases, with ‘Alpha’ and ‘Beta’ already available on other labels.

Bowel-shaking beats and dub are certanly well employed here but the overall tone is one of dance minimalism. ‘Gamma’ is entirely wordless apart from a few utterances of ‘OK’ on the stealthy ‘Gamma 02′. The album as a whole may lack warmth but each track is different enough from the last to sustain interest. ‘Gamma 04′ mixes menace with playful noise, ‘Gamma 05′ moves along to a train track rhythm and by the final track – that’ll be ‘Gamma 08′ then – there’s a sense that an undercurrent of evil has been gradually encompassing the air space since the start of the record.

With its stubborn refusal to let in any shades of emotion, ‘Gamma’ could have been a rather sterile experience. Yet “Mr. Bass” has infused his music with enough idiosyncracies to make it a thoroughly listenable hour of sophisticated electronic music.»


«I must admit I wasn’t expecting this to be a techno album at all. I remember Tommi’s last work for Rednetic and it was a much more electro kind of sound so this was a real treat to experience. Gamma is spread over 8 tracks and, for the most part, it has to be said it absolutely rocks it out – albeit in a minimalist style. Wonderful production and superb arrangements give you plenty to get your teeth into and each cut is engineered to be as groovesome on the dancefloor as it is on the headphones. Tight edits, crispy sounds and beats and some pure gold drops and breaks all deliver a punchy hit of adrenaline fuelled dancefloor goodness. I’m feeling this I have to say as it takes the wildly popular minimal sound and imbues it with a slightly more off the wall feel, particularly in the breaks. Some of the tones and textures that he uses are outright abstract and works really well against the foot tapping, head nodding 4/4 beats. Super basslines (Gamma_5 in particular is really doing it for me) collide with intense sound production to make an album that anyone with even a passing interest in techno would be well advised to check out. Top quality.»


«Labeling an album „Dub Techno“ can give the listener a good idea of what to expect from the music and at the same time impose a very strict set of rules and expectations on the artist. Any time I start to listen to a new „dub techno”-labeled record these days, I have a pretty good idea of what to expect: someone ripping off Deepchord. And most of the time it’s a variation on that theme – the same languorous pads and minimal precussion, maybe some cut-ups and edits, maybe some real melodies. So when I listened to the new Tommi Bass album, Gamma, after seeing a „Dub Techno“ label, I thought I was in for more of the same.
Not quite. While Gamma definitely has its roots in dub techno, Tommi Bass uses that template to move closer to the minimal house aesthetic, sort of like a dub techno version of Bruno Pronsato, or someone from the Diynamic stable. Let me explain: most of these songs would be in the classic dub techno mold if it wasn’t for the random sound effects that are scattered around all of them. The subdued, bare percussion is there, and so are the deep basslines. These elements don’t really mutate over the course of the song, though. The traditional „gradual change and modulation“ effect of dub techno is left to random patches of melody, whirs, clunks, whizzes, hisses, and other random samples that slowly drift across the songs, and in the end make them worth listening to.

For example, „Gamma 1“ is propulsive, the bass and hi hats moving reliably like pistons. Clinking machines, engine noises, and slow tapping sounds all make appearances, taking turns playing their parts over the 8 minute duration. „Gamma 6“ has bee noises and mechanical synths playing a slowly percolating house beat. „Gamma 3“ is like a Stimming song, with random hand claps and steady clicks all the way through. The rest of the album progresses in largely the same way, with steady minimal beats augmented by one looped sound effect after another, like a guided listening tour.

Just because the tracks themselves eschew simple descriptions doesn’t mean the album isn’t interesting, though. Gamma is an intriguing look at the opposite end of the dub techno spectrum from Deepchord – wired and oddball, but steady as ever. Tommi Bass has a pretty good idea of how to keep a listener’s attention, and I was amazed at how I was still interested in the album as the seemingly disparate parts came and went. If Tommi Bass is willing to add tonality to his sparse productions, there’s no telling what he’d be able to do.»


«Tommi Bass est un Britannique qui a récemment migré vers Berlin et la moiteur de ses clubs spécialisés. Après avoir sorti quelques titres et EP sur des labels tels que Multipraktik ou Documenti Sonori, il lâche les débuts de sa série „Radiation“ avec Alpha et Beta, sortis également sur d’autres crèmeries. C’est donc à l’excellent label anglais Rednetic d’avoir le privilège de sortir Gamma.

Même si la teneur de cet album est résolument techno, il serait purement hérétique de le cantonner à cette abstraite étiquette.
La techno minimale souffre depuis longtemps d’une frénétique conception kilométrique, maintenant ce genre dans une inégalité et des errances négatives.
Gamma fait figure de violent uppercut dans la gueule des nombreux producteurs qui surfent sur les modes et les tendances.
En modulation permanente, Gamma oscille entre hypnotique répétitivité, beats crashés, cliquetis et dérapages abrasifs.
Rarement il m’a été donné d’entendre un disque de minimale doté de tant de structure.
Les lourdes lignes de basses semblent pouvoir faire céder les murs les plus épais.
Pendant plus d’une heure, ces huits sessions Gamma trouvent des directions angulaires insoupçonnables, bien aidés par des rythmiques en évolution perpétuelle où les kicks et les cuts n’ont de cesse de maintenir l’auditeur dans une captive attention.
Tel un moteur de F1 vrombissant, la musique de Tommi Bass ne semble jamais vouloir stopper sa course. Les montées de tempo sont jubilatoires et ecstatiques.
Cet opus recèle un nombre incalculable de sonorités rampantes et de percussions digitales fourmillantes.
Aucun morceau ne se ressemble réellement même si j’avoue avoir une préférence pour Gamma 01, 03, 05 et 06.

Gamma, ou l’histoire d’un Anglais qui déboule en territoire germanique pour donner une véritable leçon de techno minimale sophistiquée et dansante. Les dancefloors de tout club qui se respecte résonneront bientôt au son de Tommi Bass. Nous, nous transpirons déjà face à cet album qui fera forcément date dans le genre. Même si nul n’est prophète en son pays, on doit reconnaître que cette prédiction ne comprend que peu de risques d’échec.»



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