New Zealander Darin Mcfadyen, alias Freq Nasty, returns with his first album on Fatboy Slim‘s Skint Records, and the second of his career.
Freq Nasty has tried to construct a record that doesn’t conform to a single genre. He has blended elements of breakbeat, ragga, garage, hip-hop, and jungle, in what seems like an attempt at a breakthrough record. To a degree he has succeeded, on other levels he has failed miserably.
As far as throwing a bundle of dance genres into one digestible, manageable chunk is concerned, then Freq Nasty could be compared with Falacy, and it is clear on the first track, (as well as others) Come Let Me Know, that Falacy has been an influence on him. The song itself does the album absolutely no favours. It starts off fine with a punchy, surging opening but it goes nowhere at all and swiftly becomes dull and boring. Why it was released as the first single off the album is a little bewildering question.
Boomba Clat, is another example of some of the bloated, go-nowhere tracks on this album, and the only real motive for listening is that Roots Manuva guests on it.
However, there are some incredible peaks of exhilaration and creativity that Mr Nasty does manage to reach on this record. These start with the fourth track, Amped, where Fatboy Slim’s nurturing seems to have rubbed off. Brooklyn To Brixton is also very good – Kovas, who guests on the track, seems to be on exactly the same wavelength as Freq Nasty and his voice complements the music brilliantly. The only downside to the song is right at the song’s peak when Kovas proclaims, “Jump around in the air / Just jump around in the air.” This is a dance clich� that, in this case, provides somewhat of an anti-climax.
So this album is sometimes terrible but also has some hugely original, creative moments. It is definitely worth a listen because McFadyen has injected more diversity into dance music, which, until a few years a go, was dangerously close to disappearing up its own rear.
If you like driving cars that look silly, and sound worse, then this record is just the thing. Crank up the sub-woofer, and let this rip to achieve the ultimate in gangsta drive-time feel. Thumbs up, Mr Nasty – a good effort, but it could’ve been brilliant.