Part Two. The New City

Chapter Five

Fabian was trying to call Natasha but he could not reach her. She had taken her phone off the hook. The news about Saul’s father was spreading among his friends like a virus, but Natasha had immunized herself for a little while longer.

It was just after midday. The sun was bright but as cold as snow. The sounds of Ladbroke Grove filtered along the backstreets to the first floor of a flat on Bassett Road. They slid through the windows and rilled the front room, a susurrus of dogs and paper sellers and cars. The sounds were faint; they were what passed for silence in the city.

In the flat a woman stood motionless in front of a keyboard. She was short and her face was severe, with dark eyebrows that met above a scimitar nose. Her long hair was dark, her skin sallow. Her name was Natasha Karadjian.

Natasha stood with her eyes closed and listened to the streets outside. She reached out and pressed the power button on her sampler. There was a static thud as her speakers clicked into life.

She ran her hands over the keys and the cursor. She had stood motionless for a minute or two now. Even alone she felt self-conscious. Natasha rarely let people watch when she created her music. She was afraid they would think her precious, with her silent preparations and her closed eyes.

She tapped out a message on a clutch of small buttons, twisted her cursor, displayed her musical spoils on the LCD display. She scrolled through the selection and plucked a favourite bassline from her digital killing jar. She had snatched it from a forgotten Reggae track, sampled it, preserved it, and now she pulled it out and looped it and gave it another life. The zombie sound travelled the innards of the machine and out through wires, through the vast black stereo against her wall, and burst out of those great speakers.

The sound filled her room.

The bass was trapped. The sample ended just as the bass-player had been about to reach a crescendo, and expectation was audible in the thudding strings as they reached out for something, for a flourish… then a break, and the cycle started again.

This bassline was in purgatory. It burst into existence with a recurring surge of excitement, waiting for a release that never came.

Natasha nodded her head slowly. This was the breakbeat, the rhythm of tortured music. She loved it.

Again her hands moved. A pounding beat joined the bass, cymbals clattering like insects. And the sound looped.

Natasha moved her shoulders to the rhythm. Her eyes were wide as she scanned her kills, her pickled sounds, and she found what she wanted: a snatch of trumpet from Linton Kwesi Johnson, a wail from Tony Rebel, a cry of invitation from Al Green. She dropped them into her tune. They segued smoothly into the rolling bass, the slamming drums.

This was Jungle.

The child of House, the child of Raggamuffin, the child of Dancehall, the apotheosis of black music, the Drum and Bass soundtrack for a London of council estates and dirty walls, black youth and white youth, Armenian girls.

The music was uncompromising. The rhythm was stolen from Hip Hop, born of Funk. The beats were fast, too fast to dance to unless you were wired. It was the bassline you followed with your feet, the bassline that gave Jungle its soul.

And above the bassline was the high end of Jungle: the treble. Stolen chords and shouts that rode the waves of bass like surfers. They were fleeting and teasing, snatches of sound winking into existence and sliding over the beat, tracing it, then winking away.

Natasha nodded her satisfaction.

She could feel the bass. She knew it intimately. She searched instead for the sounds at the top, she wanted something perfect, a leitmotif to weave in and out of the drums.

She knew the people who ran the clubs, and they would always play her music. People liked her tracks a lot, gave her respect and bookings. But she felt a vague dissatisfaction with everything she wrote, even when the sensation was shot through with pride. When she finished a track she did not feel any purgation of relief, only a slight unease. Natasha would cast around, ransacking her friends’ record collections in an attempt to find the sounds she wanted to steal, or would make her own on her keyboard, but they never touched her like the bass. The bass never evaded her; she needed only to reach out for it, and it would drop out of her speakers complete and perfect.

The track was nearing a crescendo now: Gwan, exhorted a sampled voice, Gwan gyal. Natasha broke the beat, teasing the rhythm out, paring it down. She stripped flesh from the tune’s bones and the samples echoed in the cavernous ribcage, in the belly of the beat. Come now… we rollin’ this way, mdebwoy… She pulled her sounds our one by one, until only the bass was left. It had ushered the song in; it ushered it out again.

The room was silent.

Natasha waited a while until the city silence of children and cars crept into her ears again. She looked around at her room. Her flat contained a tiny kitchen, a tiny bathroom and the beautiful big bedroom she was in now. She had put her meagre collection of prints and posters in the other rooms and the hall; the walls here were quite bare. The room itself was empty except for a mattress on the floor, the hulking black stand which housed her stereo, and her keyboard. The wooden floor was criss-crossed with black leads.

She reached down and put the receiver back on the phone. She was about to wander into the kitchen, when the doorbell sounded. Natasha crossed the room to the open window and leaned out.

A man was standing in front of her door, looking straight up at her eyes. She had a brief impression of a thin face, bright eyes and long blond hair, before she ducked back into the room and headed down the stairs. He had not looked like a Jehovah’s witness or a troublemaker.

She walked through the dingy communal hall. Through the rippled glass of the front door she could see that the man was very tall. She pulled the door open, admitting voices from the next house and the daylight that was flooding the street.

Natasha looked up into his narrow face. The man was about six feet four, dwarfing her by nearly a foot, but he was so slim he looked as if he might snap in half at the waist any moment. He was probably in his early thirties, but he was so pale it was difficult to tell. His hair was a sickly yellow. The pallor of his face was exaggerated by his black leather jacket. He would have looked quite ill were it not for his bright blue eyes and his air of fidgety animation. He started to grin even before the door was fully open.

Natasha and her visitor stared at each other, he smiling, she with a guarded, quizzical expression.

‘Brilliant,’ he said suddenly.

Natasha stared at him.

‘Your music,’ he said. ‘Brilliant.’

The man’s voice was deeper and richer than she would have thought possible from such a slender frame. It was slightly breathless, as if he were rushing to get his words out. She stared up at him and her eyes narrowed. This was much too weird a way of starting a conversation. She was not having it.

‘What do you mean?’ she said levelly.

He smiled apologetically. His words slowed down a little.

‘I’ve been listening to your music,’ he said. ‘I came past here last week and I heard you playing up there. I tell you, I was just standing there with my mouth open.’

Natasha was embarrassed and amazed. She opened her mouth to interrupt but he continued.

‘I came back and I heard it again. It made me want to stand dancing in the street!’ He laughed. ‘The next time I heard you stop halfway through, and I realized someone was actually playing while I listened. I’d thought it was a record. It was such an exciting thought that you were actually up there making it.’

Natasha finally spoke.

‘This is really… flattering. But did you knock on my door just to tell me that?’ This man unnerved her with his excited grin and breathy voice. It was only curiosity that stopped her shutting the door. ‘I’ve not got a fan club yet.’

He stared at her and the nature of his smile changed. Until that moment it had been sincere, almost childish in its excitement. Slowly his lips closed a fraction and hid his teeth. He straightened his long back and his eyelids slid halfway down over his eyes. He leaned his head slightly to one side, without taking his eyes off her.

Natasha felt a wave of adrenaline. She looked back at him in shock. The change which had come over him was extraordinary. He stared at her now with a look so sexual, so casually knowing, that she felt vertiginous.

She was furious with him. She shook her head a little and prepared to slam the door. He held it open. Before she could say anything, his arrogance had gone and the old look was back.

‘Please,’ he said quickly. ‘I’m sorry. I’m not explaining myself. I’m flustered because I’ve… been plucking up courage to talk to you.’

‘You see,’ he continued, ‘what you’re playing is beautiful, but sometimes it feels a little bit — don’t get angry — a bit unfinished. I sort of feel like the treble isn’t quite… working. And I wouldn’t say that to you except I play a little bit myself and I thought maybe we could help each other out.’

Natasha stepped backwards. She felt intrigued and threatened. She always stonewalled about her music, refusing to discuss her feelings about it with any except her very closest friends. The intense but inchoate frustrations she felt were rarely verbalized, as if to do so would give them form. She chose to keep them at bay with obfuscation, from herself as much as from others, and now this man seemed to be unwrapping them with an unnerving casualness.

‘Do you have a suggestion?’ she said as acidly as she could. He reached behind him and picked up a black case. He shook it in front of her.

‘This might sound a bit cocky,’ he said, ‘and I don’t want you to think I reckon I can do better than you. But, when I heard your playing, I just knew I could complement it.’ He undid the clasp of the case and opened it in front of her. She saw a disassembled flute.

‘I know you might think I’m crazy,’ he preempted hurriedly. ‘You think what you play is totally different to what I play. But… I’ve been looking for bass like yours for longer than you could believe.’

He spoke earnestly now, his eyebrows furrowed as he held her gaze. She stubbornly stared back, refusing to be overawed by this apparition on her doorstep.

‘I want to play with you,’ he said.

This was stupid, Natasha told herself: even if this man was not arrogant beyond belief, you could not play the flute to Jungle. It was so long since she had stared at a traditional instrument she felt a gust of déjà vu: images of her nine-year-old self banging the xylophone in the school orchestra. Flutes meant enthusiastic cacophonies at the hands of children or the alien landscape of classical music, an intimidating world of great beauty but vicious social exclusivity, to which she had never known the passwords.

But to her amazement, this lanky stranger had impressed her. She wanted to let him in and hear him play his flute in her room. She wanted to hear him play over some of her basslines. Discordant indie bands had done it, she knew: My Bloody Valentine had used flutes. And while the result had left her as dead cold as the rest of that genre, surely the alliance itself was no more unlikely than this one. She realized that she was intrigued.

But she was not simply going to stand aside. She had a reputation for being intimidating. She was not used to feeling so disarmed, and her defences flared.

‘Listen,’ she said slowly. ‘I don’t know what you think qualifies you to speak about my tracks. Why should I play with you?’

‘Try it once,’ he said, and again that sudden change flooded his features, the same curled smile on the edge of the lips, the same heavy-lidded nonchalance about the eyes.

And Natasha was suddenly furious with this pretentious little art-school wanker, livid where a moment ago she had been captivated, and she leaned forward and up on tiptoes, until her face was as close to his as it would go, and she raised one eyebrow, and she said: ‘I don’t think so.’

She closed the door in his face.

Natasha stalked back up her stairs. The window was open. She stood next to it, close to the wall, looking down at the street without putting herself in view. She could see no sign of the man. She walked slowly to her keyboard. She smiled.

OK, you cocky fucker, she thought. Let’s see how good you are.

She turned the volume down slightly, and pulled another rhythm out of her collection. This time the drums came crashing out of nowhere. The bass came chasing after, filling out the snare and framing the sound with a funky backdrop. She threw in a few minimal shouts and snatches of brass, looped a moment of trumpet, but the treble was subdued; this was an offering to the man outside, and it was all about rhythm.

The beats looped once, twice. Then, sailing up from the street came a thin snatch of music, a trill of flute that mimicked the looping repetition of her own music, but elaborated on itself, changed a little with every cycle. He was standing below her window, his hastily assembled instrument to his lips.

Natasha smiled. He had made good on his arrogance. She would have been disappointed if he had not.

She stripped the beat down and left it to loop. She stood back and listened.

The flute skittered over the drums, teasing the beat, touching just enough to stay anchored, then transporting itself. It suddenly became a series of staccato flutterings. It lilted between drum and bass, now wailing like a siren, now stuttering like Morse code.

Natasha was… not transfixed, perhaps, but impressed.

She closed her eyes. The flute soared and dived; it fleshed out her skeletal tune in a way she could never achieve. The life in the live music was exuberant and neurotic and it sparked off the revivified bass, the very alive dancing with the dead. There was a promise to this tension.

Natasha nodded. She was eager to hear more, to feed that flute into her music. She smiled sardonically. She would admit defeat. So long as he behaved, so long as there were not too many of those knowing looks, she would admit that she wanted to hear more.

Natasha paced silently back down the stairs. She opened the door. He was standing a few feet back, his flute to his lips, staring up at her window. He stopped as he saw her, and lowered his hands. No trace of a smile now. He looked anxious for approval.

She inclined her head and gave him a sideways look. He hovered.

‘OK,’ she said. ‘I’ll buy it.’ He finally smiled. ‘It’s Natasha.’ She jerked her thumb at herself.

‘Pete,’ the tall man said.

Natasha stood aside, and Pete passed into her house.