Justice ‎– Pseudo Jazz EP

Label:
Basement Records ‎– BRSS54
Format:
Vinyl, 12", 33 ⅓ RPM, EP
Country:
Released:
Genre:
Style:

Tracklist

A Feverish 5:40
AA Aquisse 6:40

Companies, etc.

Credits

Notes

[P]+[C] Basement Records 1996.
Made in England.

Barcode and Other Identifiers

  • Matrix / Runout (Machine-stamped Runout Side A): BRSS 54 A-01-01-I
  • Matrix / Runout (Hand-etchings Runout Side A): NEIL MASTERPIECE
  • Matrix / Runout (Machine-stamped Runout Side AA): BRSS 54 AA-01-01-I

Other Versions (3 of 3) View All

Cat# Artist Title (Format) Label Cat# Country Year
BRSS54 Justice Feverish / Aquisse(12", W/Lbl) Basement Records BRSS54 UK 1996 Sell This Version
BRSS54 Justice Feverish / Aquisse(12", Promo, W/Lbl) Basement Records BRSS54 UK 1996 Sell This Version
BRSS54 Justice Feverish / Aquisse(12", Promo) Basement Records BRSS54 UK 1996 Sell This Version

Recommendations

Reviews Show All 3 Reviews

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stringz23

stringz23

January 21, 2017

why this has got such a low rating, God only knows, as Aquisse resides here and it's just breathtakingly beautiful. Jungle and Detroit techno/electro in perfect harmony.
karlrichard

karlrichard

September 16, 2011
edited over 6 years ago

What an EP! AND I mean... WHAT AN EP!!! This 12" should be seen as one of the main tracks that began to redefine what Drum & Bass was back in the mid 90s... Especially with regards to rhythmic and tonal flow... ! After this track found its way into Fabio's hands, Tony John Bowes' (a.k.a. Justice) - as a minimalist producer of breakbeat form and function - fast became part of the select stronghold of fearless producers that were helping revitalise the genre from the idle stagnation that had began to set in, constricting Drum & Bass's evolutionary path.

In my humble opinion... 'Aquisse' is the track to check here. The first time I heard this was down at SPEED (Fabio and Bukem's night that used to be held down at the Mars Bar on Sutton Row just off Soho Square in London), where it fast became a sort of talisman that stood more for experimental fusion and freeform experimentation, showing us all that Drum & Bass didn't necessarily have to have breakbeats in it... Rather, it just needed drums and bass... ! For me, this minimalist slice of rhythmic techno inspired phonetics, layered with lush synth-like sample stabs - ones which gelled the whole flow together like some future 2000AD driving tune - seemed to capture what it must have been like back in the late 80s in Detroit, USA, during the techno movement. No doubt, 'Aquisse' was probably the first track of its kind that forged the obvious bridge between these two genres i.e. techno and Drum & Bass. Soon after its first airing at SPEED, tracks like these became more and more commonplace every Thursday night at the Mars Bar... Always beautifully complimenting and dispersing the over abundance of purely breakbeat rhythmication... In fact, it was probably this one track alone that inspired many other long-standing underground producers to leave the realms of breakbeat slicing and dicing, and to instead work with percussive beats and techno-like contours... Which, when done correctly, left many an unsuspecting listener dumbfounded as to what exactly it was they were listening to.

From this point onwards, you just couldn't help but notice how 'new-skool' producers were beginning to work with nothing other than beats from Roland TR-909s, TR-808s and TR-606s... As well as varied sonic textures and samples (see Neo-Tech's "Valves" on Moving Shadow). One classic example of this shift from breaks to beats - which popped up on acetate only a few months after this 12" of a nugget had been released on Basement Phil's label - was Sean O'Keeffe's (a.k.a. Deep Blue) track called "Thursday" (released on Moving Shadow), which instantly became the official SPEED anthem... !!! From my perspective, 'Aquisse' can be seen as a sort of obvious reformation of what Drum & Bass could - and should - be... Either way, after its release, you just couldn't help but notice the seriously WHACKED creations that popped up from the likes of new bread producers (Optical, Matrix, Deep Blue, Dom & Optical, Ed Rush, etc.)... Producers who began to fuse all sorts of rhythmic abstractions into varied extrapolations... All of which - it should be noted - were snapped up by, and released on, various long standing Drum & Bass labels.

On the flip side of this 12", which - I should add - was almost equally as caned down at SPEED, is 'Feverish.' Unlike it's flip, this track still uses minimally sliced breakbeats... However, they are so thinly diced that you'd be hard pressed to recognise that they did come from breakbeats. Layered with some more ambrosial tonal modulations, harking of future freeform funk, this number jitters into a shaky - but rolling - groove... Shimmering avidly, it builds up into a neat recapitulation by layering some simple note sequences/arrangements over each other into a complex 'harmonious-dissonance' (I know, go figure) of texture. Certainly, for the time, programming like this in Drum & Bass had been rarely heard outside of SPEED. Easily interesting enough to clasp one's attention - especially when played loud - for the whole duration of the track, this number still drops with great effect whenever I've played it out in last few years.

So... If you're joining the dots on Drum & Bass' evolutionary journey... And want to pick up a piece of underground musical history in the making... Then don't miss this diamond of a release. Why? Because this track symbolises one of the main turning points in the history of this genre's development. No doubt, Justice carefully crafted these two tracks to re-correct the tedium that was fast destroying the scene's appeal in 1996... And here, even today, you can still clearly hear how radically he departed from the standard ideal of what Drum & Bass had become... So vibrantly... And so minimally...

Easily a 5/5!
veers

veers

October 19, 2005
edited over 6 years ago

The liquid "Feverish" found its way on some mixes and compilations of that period and is still an interesting one even if chords modulation sound rather mechanical nowadays and not as fluid as JUSTICE certainly wished.

But I'm not joking about the AA-side ("Aquisse") when I wish to give it the justice it needs.
This track is like a love song, without words. It still sounds up to date because it is timeless.
Under the colours of simplicity and emotion, it is easy listening, delight for d'n'b beginner and breath of freedom for exacting oldtimers.
Only real strings would have played the profound melody with more spirit.
D'n'b with a soul.
So rare. So precious.

(with gratefulness)