Kane West's inaugural mini-album, "western beats," has been re-released, inviting listeners to ponder the auditory and tactile essence of Comic Sans, and perhaps, its unexpected brilliance. This early PC Music creation, first exclusively available as a download and on SoundCloud for twelve years, now reaches a wider audience through vinyl, CD, and major streaming platforms. It poses questions about the nature of corporate appeal and absurdity, reflecting a unique artistic stance that both embraces and critiques Western consumer culture. Gus Bonito, known for his work with Kero Kero Bonito, designed Kane West's project to express both adoration for and frustration with underground dance music culture, embodying what has been termed "inverted consumerism."
The album's seven MIDI-driven house tracks vividly capture the emptiness inherent in mass consumerism. Musically, "western beats" is steeped in Chicago house traditions, from its rhythmic patterns reminiscent of Frankie Knuckles to its catchy vocal fragments and deep basslines. Yet, it deliberately eschews the soulful depth often found in classic grooves, opting instead for a sound that could be mistaken for a marketing executive's interpretation of urban music. This is exemplified in tracks like "power of social media," where repetitive phrases and sanitized electronic sounds replace the raw energy of acid house. Despite this seeming insipidity, Bonito deftly manipulates MIDI arrangements, pushing each track into increasingly peculiar and inventive sonic landscapes, exploring the uncharted territories of electronic instrumentation.
Bonito's exploration of house music through the lens of consumerist critique is most evident in tracks like "good price," where KKB's Sarah Bonito adopts the persona of a salesperson peddling "plastic items" with an almost artificial enthusiasm. The album culminates in "goin crazy," an explosive track that pushes its vocal samples and instrumentals to a chaotic peak, symbolizing a corporate MIDI factory overwhelmed by its own production. The reissue is further enriched by two new remixes: Joe Smooth's version of "power" imbues the track with authentic underground soul, imagining a world untouched by MIDI, while John Stage's chilling interpretation of "baby" transforms its uneasy sentiments into a disorienting, almost psychedelic experience. "western beats" thus stands as a significant work that continues to challenge perceptions of consumer culture and artistic integrity, resonating with contemporary trends that ironically embrace optimistic advertising while subtly urging a critical re-evaluation of its pervasive influence.
This album serves as a compelling reminder that art can act as a mirror, reflecting societal obsessions and prompting us to question the pervasive narratives of our time. It encourages a deeper look into the subtle ways consumerism shapes our experiences, urging us to find authenticity and purpose beyond the superficial. Through its innovative sound and critical message, "western beats" inspires contemplation and a renewed appreciation for artistic expression that challenges the status quo.