Over the last few months, the term “Southern Bassline” has become more and more common in its usage, with critics and commentators identifying a serious talent pool down on the south coast. This collection of artists includes long term bass affiliates Pavv, PVC and even more recently the high flying names such as Bushbaby or Zero. However, one name who has really captured the imaginations of bass fans around the country is none other than Brighton’s Freddie Martin.
As a long term musician, Freddie’s unique appreciation for melodic structure combined with an impeccable production style has seen him rise above the crowd with incredible speed, being named one of the true future stars of UK bass music. Through 2017 and 2018, he has assembled a bag of incredibly well received self releases and a number of high profile appearances on Brighton based bass music innovators Southpoint, including his phenomenal remix of Daze Prism’s ‘Lose Control’ and ‘Gotta Get Through This’ rework which gained him support from the likes of My Nu Leng and company.
Now, it’s been a long time coming, but his debut Southpoint EP is now available to purchase and it’s an absolute stormer from start to finish, portraying Fred’s soundscaping prowess and inept ability to combine revolutionary synth design with emotive harmonics. This begins with the dramatic, orchestrated introduction of ‘Limbo’. Taking pride in his expansive arrangements, we are led down a path explosive path of rolling drums and vibrant atmospherics before plunging into satisfying synthy bliss come the breakdown. The title ‘Limbo’ could almost be seen as reflective of the insane creativity a human mind can conjure when left alone with its own thoughts.
To follow these, we roll into the the title track ‘Feel’. Again, Freddie takes the opportunity to expand his compositions by combing well tuned arpeggiators and uplifting pads with a sumptuous original vocal, pitched down yet perfectly balanced amidst the stunning harmonics around it. This leads to a tremendous drop, landing us once again in a bed of expertly crafted bass sounds and explosive drum designs, led by exciting melodies and sharp, crunchy rhythms, something that a large portion of bass music often lacks the perfect pairing of.
To round the EP up, the above mentioned Bushbaby joins the party, ready to join forces with his Southpoint brother in arms to shut the party down for good. This is achieved with supreme finesse, as emotive, robotic introductory synthesizers growl away underneath subtle kick rolls and atmospheric arpeggiators as we approach a cuesta of a drop. Angry distortion takes a lead as bass sounds are pulled and plucked whilst being assembled deliciously alongside spacious 4×4 drumwork.
If there was ever an EP to throw an artist to the forefront of the bass scene, it’s pretty clear that it would be this, as Freddie stands tall showcasing his truly unique take on bass music, whilst retaining his appeal to all who maintain an interest in the genre!
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