It’s without a doubt that the French House/Techno-scene is having its momentum right now. A new generation of producers have shaped the genres strongly and permanently leaving their footprints with exquisite music out of their feather. One of these artists is Bassam, a distinctive representative of France’s new school tech chapter. With releases on Club Vision or his co-owned label Distrikt Paris the Franco-Moroccan DJ and producer just dropped his ambitious album Clockwise Rhapsody. Ambitious it is in either way; firstly because releasing an album these days in the music industry and secondly because Bassam’s conglomerate of music on the album is quite pioneering. Let us explain. All electronic music albums consisting out of functional dance music often summer from the same problems: the tracks sound too generic and the albums also lack conception. This though is not the case with Bassam’s album Clockwise Rhapsody on Distrikt Paris as the 2×12“ comes in diverse, varied, musically rich in any way and has a lot to discover.
The album starts with the Intro, which is an IDM-ish broken beat tune with some very obscure and sampled vocals, which remind one of the works of Meat Beat Manifesto and early 90s UK music on labels like Warp and Reflex. Just with Intro Bassam sets the bar high for what is to follow.
On the A2 it’s Electronic Rhapsody, which gets things going. Just as the track title suggests it is a break-ish Electro flavored track creating a rather melancholic mood underlined by extraordinary stylized hobo-effects and vocals.
The B-side kicks off with Après Faut Aimer La Fête, a future deep hypnotic tune with a reference to early Giegling-sounds as it has those intriguing pads in combination with the looped vocals and some suitable effects to underline the artsy sound-selection.
The B2, Sos Marrakech, is a modern interpretation of 90s progressive sounds with an appealing melody, quirky effects and old-school-flavored sounds. Surely by now it becomes clear that Bassam takes us on a skillful journey through various merged sub-genres of electronic music.
The second 12“ opens with the 80s themed House take 6×4 G, which comes in with a feel good melody, nostalgic pads and effected vocals reminding one of those exciting times in House Music when it was new sounded futuristic – if not to say avant-garde.
A modern take on old-school French House with lots of synth-works and effected Daft-Punk-style vocals but seasoned with a certain impulsiveness and weirdness is the C1, Back To The Futur (Clockwise Mix).
C2, Panorama Vision (Jamal Wink), picks up on the vibe the C1 has left us with. It’s lo-fi-Electro-Tech-touch creates an overall jovial experience over its consistent lush bassline making one just wanting to give in to either the Electro-esque infused chords or the robotic-vocals.
Bassam explores some Leftfield-territories with the D1, LAP Memory (D1 40ine Mix), which also features trippy Tech-House vibes and comes with a haunting melody, a skillful crafted break and some Chi-Town flavored chords.
Clockwise Rhapsody’s closing track is Weather In My Planet, an after hour affair with spacey pads, touching melodies and simply enough unpredictableness to lead dancers deep into the early morning hours.
As a digital-only track comes Mystical Tempo, which is slowtempo-chugger designed for either spreading some heat to get the crowd started or finishing the night with its Acid-touched chords, some subtle percussions and mystifying melody.
Clockwise Rhapsody sounds like a future classic. Its enormous creativity and the various influences make the LP sound unusual and innovative – something that lots of albums lack these days. The album managed to capture the zeitgeist of modern electronic music yet its newfangled approach, its diversity and musical deepness will make it a relevant piece in many years from now.
Bassam’s LP Clockwise Rhapsody is out on District Paris.
Words by Pasha Pliskin
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