Bredren – Trinity LP

Proximity Recordings have nourished the Drum & Bass scene onwards of 2010 with a steady crop of solid releases by some of the most compelling (and uncharted) producers the underground fringe has to offer. Headed up by RAM Records insignia and evident A&R natural Basher, the label has rendered a dark, no-nonsense bearing on the genre and their latest offering is definitely true to form.

[dropcap]H[/dropcap]ailing from Lennik in the outer suburbs of Brussels, Bredren are part of the thriving yet diverse Belgian drum & bass community. The outfit have developed a healthy affiliation with noted imprints such as Dispatch, Demand, Flexout Audio and more; but now Trinity LP, a slick thirteen track album is the cohesive long-player debut by the trio and is duly out on Basher’s Proximity – the label having released the bulk of Bredren’s work.

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Trinity is a deep, twisted and sub-heavy project with perhaps the continuity and integrity of a concept album. There’s a dark rationale that rumbles from each track to the next, despite the variety of styles that feature on here. I admit, it’s a pretty big first time listen from start to finish.

The LP commences with ‘Endless Light’, an ethereal autonomic track with rich piano chords and divine strings that ease me in under false pretences, whilst only hinting at a darker undercurrent that comes to characterise the album. No time is wasted before the guise is up and i’m given a taste of whatTrinity is really all about. Let rip ‘Infamous’; a savage half-time belter with a snarling reese bass as dirty as Marka, marching warlike straight into ‘Capital’; with its insane sub pressure and lively hook that jerks and breaks atop tightly wound tech percussion. Then into ‘Off Grid’,  following suit with beefed-up, moody atmospherics and crackling distortion that meanders cantankerously above a steppy, minimal beat.

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There’s an intention behind Trinity that becomes evident from this point as ‘Source Code’ begins to play; one of stand out tracks on the album. The catchiness of this irresistible techy tune is owed to it’s tight arrangement of playfully discordant samples, an oldskool tinged rhythm and relentless energy that will certainly do damage in the club. I begin to realise that each track is refined for maximum impact in the rave and this isn’t surprising having caught the odd Bredren DJ set. These boys mean business, as does the sixth track ’Homasu’. This blissfully dark half-time rumbler juxtaposes a hard minimal vibe against an eerie soundscape of twisted reverb and acid synths. Picking back up the pressure again into ‘Collisions’, but in keeping with the spaced-out pads. This stripped back acid stepper calls the more psychedelic of Calibre’s tunes to mind, and features an interesting 140 switch leading out of the track.

Trinity enters a harder phase mid-way through as ’Rotten’ rolls out the stabs and punches in a menacing fashion with it’s throbbing sub bass and fierce drum work. The dangerous head knocker ‘Red Powder’ comes straight after which is another stand out moment on the LP. This staunch, crowd pleasing roller dissects through the harsh electrical reverb with a sharp snare and cheeky bongos that’ll delight the ears of dance floor devotees across the board.

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I’m contented as the delicate pads of ‘Jungle Fever’ are trounced by a brazen wobble and plunging drop. This heavy track pays tribute with generous helpings of sub bass, wistful synths, and airy breaks that are trussed together with scathing reese bass to harness a nostalgic yet decidedly current jungle infused sound. Next up, things are taken back down a notch as the flow of the album lulls into a lush experimental vibe with the mechanical half-time riddim of ‘Haunted’ that is set off superbly by a sleazy autonomic groove.

Back into ‘LRC’, the Bredren boys wear their influences on their sleeve; extolling the trippy and technical side of the genre. This cleanly arranged slice of drum & bass features heavy reverb, spacey vocals and an interesting robotic hook that hovers above starkly rendered percussion. Alike the introduction to Trinity LP, the album also concludes with something a little more melodic. The blissed-out liquid number ‘High On Yourself’ features the only full vocal of the LP and speaks for Bredren’s ability to turn their hand to the softer side of things. This unexpected collaborative effort owes it’s sumptuous vocal to Belgian jazz singer Manon Gögös and soothingly winds down an otherwise tough and dark album.

The Trinity LP is above all a well sequenced compilation of the type of music we have come to enjoy from the outfit that is Bredren. They have achieved a representative body of work with Trinity that touches upon a variety of styles within the genre, whilst having proficiently developed a uniform sound of their own that anchors each distinct track to the album’s aesthetic and concept as a whole. Bredren have certainly put their name on the map with this solid offering.

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