In true Royston Vasey style, unfortunately due to time and resources we donโt review international music as we did during lockdown, choosing to focus more on the original concept of local issues and talent, unless of course, we can find any vague link to someone around these parts; thereโs a tenacious one with Beskarโs latest album of uplifting drum n bassโฆ..
Proving the irony in Devizes singer Chrissy Chapmanโs nom-de-plume, One Trick Pony, her stunning vocals feature on two tracks on the album, Liquid with Friends, released at the beginning of the month, and on a number of previous singles produced by Beskar. One of them is an astounding cover of Ella Fitzgeraldโs Fever.
A chance opportunity for Chrissy, working as social media manager for 4NCยฅ //DarkModeโs London headquarters during the pandemic, unveiled a hidden talent producing some spoken words for a Dust tune, which in turn led her to be introduced to Beskar, who since has enhanced many of his tracks with her prowess as a singer-songwriter. Now, under the pseudonym Huntr/s, Chrissy has fast climbed to recognition and popularity in drum and bass circles, though this doesn’t mean youโll no longer see her acoustically perform on our local circuit too, I hope!
See? As the codger who was there for breakbeats slipping into acid house and creating a UK rave scene inspired equally from dub reggae as the less soulful German tekno, who danced through this progression, when hardcore fragmented into happy and dark, and celebrated what blew from itโs exhaust pipe, the โjungleโ of drum n bass, and still coming up dancing, I find it slightly confuddling differentiating between the many subgenres drum n bass has separated into more recently.
Take it as a senior moment, but Iโm dubious about breakcore or dubstep, feel theyโre heading in a direction Iโm not looking to journey down. For me the split came at the end of the rave honeymoon, 1993. Andy Cโs Origin Unknown caused heated debate, it was dark, directed away from the cheese on toast, carefree vibe of hi-hats and crashing piano breaks we were accustomed to. In just a few subsequent years I was waving A Guy Called Geraldโs Black Secret Technology CD around, but most of my mates waited for Goldieโs Timeless before accepting this new force, โintelligentโ drum n bass.
It peaked at LTJ Bukemโs Logical Progression in 96, drum n bass no longer the jungle tumult you heard at raves, rather as the title suggested, hereโs a style for the chill-out, for the after-party. And thatโs where I left it, trundling off to the big beat sound of Jon Carter, The Chemical Brothers and Norman larginโ it. While what Beskar is laying down here is fresh and original, it makes no secret in nodding to its influences, to this peak of drum n bass, and for me, that works a treat.

The opening to Liquid with Friends is much like this, thereโs the sparse drum n bass riffs of Photek, Hype et al, spacey ambient sounds of the Orb, KLF, and some uplifting vocals and piano breaks. Thereโs casual rap like Divine Bashimโs for William Orbit, thereโs a spanning package offered here, flowing sweetly. The result is euphoric and enchanting throughout, but itโs the Huntr/s featured tracks, Home and Running which are the standouts, and Iโm not just saying that, Iโm backing it up with reasoning; because from cheesy hardcore to contemporary house, when any dance music genre breaks for some beautiful female vocals the soul is elevated.
Donna Summer proved that for Giorgio Moroder, Caron Wheeler did it for Soul II Soul in the late eighties, Rozalla took it to the rave, Heather Small did it for Mike Pickering, and a lounge style of house brought to the masses; dance music wouldnโt be what it is totally instrumental. Mickey Finn knew this with Urban Shakedown, and we did, we lived as one family, the vocal only enforced it into us! We were like, โdamn thatโs some powerful shit, weโd better live as one family now, or else!โ I never did get any pocket money out of Mickey!
Beskar manages to amalgamate the lot without it becoming overcrowded there. Just as DJ Cam with the trip hop trend, funky jazz loops are allowed in. Thereโs a lot more going on with this album than breaks and beats, but it does this too with bells on. Silent River is one example to this experimental goodness, Inner City Life, the opening to Timeless meets Massive Attack, soulful vocals with layers of chill, and even subtle wailing guitars, akin Quincy Jones adding Slash to Micheal Jackson tunes, Beskar went there too; you magician!
Iโm taken back and in awe, our own Huntr/sโ contributions here embeds her voice to a history of female vocalists who uplifted the crowd, from Summer to Small, and thatโs a high but deserved accolade for our Devizes girl!



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