With wAgA’s insistence on producing some delicious acid basslines, he will inevitably draw comparison with the mighty Squarepusher at times, not that this is at all meant as a slur – he’s simply taking these famous and often overused sounds in his own inimitable direction, with more dub sensibilities thrown in for good measure.
[Listen] Back in the day (well, a few years ago), I found out about a digital electronic label called Acroplane through my label-mate and fellow contributor to this site Gus Savy (also known as sax wielding, bassline merchant Startslow), who had previously done a couple of albums for the Belfast-based imprint. At the time, I was amazed to find that there was all these artists I’d never heard of before, so I duly started my exploration of the entire label with the compilation Acroplane V/A 02, which first introduced me to the wondrous production talents of guys like Mothboy, Egon Fisk and Mad EP.
However, as much as I dug these artists, there was one tune that stuck out as something really quite special and that was a little number called “Cloudchop” by some dude named wAgAwAgA. I fell in love with his dubby electronica sound instantly, which had more than a nod towards the mellower dubstep output of guys like Skream (when the Croydon lad was still producing the goods, I mean), so I decided to investigate the site further and was delighted to find that the entire back catalogue was available to download as high-quality 320 MP3’s for no cash whatsoever. From there, I picked up wAgAwAgA’s 2008 album, Mrepsican, which rapidly became my de facto listening choice on the daily train journey to Bath, when I used to work for Computer Music magazine, for well over a year – in fact, I still listen to it occasionally nowadays and still marvel at the production quality, with its slick blend of spacious dubstep beats and jungle rhythms, choppy offbeat synth patterns, ever evolving uses of tape-echo and endlessly inventive sub basslines.
Fans of Mrepsican will not be disappointed with wAgAwAgA’s latest, a pay-for release (Acroplane are ensuring their future by asking for a small amount of dough) called Hyper Typewriter. The man is still unafraid to take the humble Amen break and its kin for regular workouts, complete with the occasional ‘eh-oh’ sample, and with wAgA’s insistence on producing some delicious acid basslines, he will inevitably draw comparison with the mighty Squarepusher at times, not that this is at all meant as a slur – he’s simply taking these famous and often overused sounds in his own inimitable direction, with more dub sensibilities thrown in for good measure.
The album begins with the title track, kicking things off appropriately with a huge sub kick and wAgAwAgA’s trademark echoing FX. The pace builds, an acidic synth line is introduced and the kicks go 4/4, before the junglist breaks enter and the track slows right down again – this producer has a tendency to mess with time, much to the annoyance of DJ’s, I should imagine! The track eventually settles, though, adding a layer of groove with another of wAgAwAgA’s signature sounds: the offbeat reggae-style synth stab.
Overall, this LP is a little darker in tone than his previous Acroplane outings (he released a collection of older tracks through the label in 2009, entitled Jinjanoon Bus), particularly demonstrated by the eerie Doppler-effect car swooshes in second track “Streetnoise” and the twisted synth pads of “Chubby Dub.” There are hints of someone talking in the background on a few tracks, too, making this particular reviewer believe that he may have been hearing things that actually weren’t there.
The laid-back dubby vibes continue ever onwards, punctuated by resonant 303 bassline exercises throughout, and I found that it’s a great album for leaving on in the background without demanding your full attention. Having said this, midway through the album, there’s an absolutely beautiful 10-minute track (one that I’ve kept returning to every day since beginning this review) called “Kitchqoorredux,” which really opens up in the final two minutes and reminds me of Warp production duo Plaid in terms of its head-nodding electronic beats and gorgeous plinky synth melodies.
There are yet more Warp influences in the next one, “Yudo,” which manages to somehow combine the beauty of Autechre’s most melodic moments, plus their pitched synthesised drums, with the bassline fury and sheer hectic groove of, you guessed it, Squarepusher. As these are two of my all-time favourite artists, you cannot imagine my excitement upon first hearing this tune. It’s absolutely amazing and definitely one the LP’s highlights.
Last but not least, I have to a special mention to penultimate track, “Mr Toad,” which packs some serious bassweight, along with subtle yet aggressive wobbles, a really laid-back groove and bizarre jungle animal sounds that get echoed across the extremely spacious mix. It shouldn’t really work, but then wAgAwAgA is no ordinary musician. Seriously, you need to check this guy out. He’s a production force to be reckoned with.
Hyper Typewriter is out now on Acroplane. [Listen]
