Modern Soul XI draws a sharply defined frame for Vandal Limited: most of the repertoire is credited as drum & bass and stays between 86 and 88 BPM. Dunk opens with “Brazil Riddim,” 4:27 in F major at 88 BPM; Broma follows with “Minorities,” 4:09 in G minor at 87 BPM. Inkognitiv drops one further point on “I Need U,” 86 BPM in D minor, and Blix with Dauntless retain that figure on “Cosmic,” 4:34 in F major. The opening does not pursue a rise in speed, but a circulation between major and minor keys within a narrow range.
Noppo’s “Haunted,” 4:50 in C major, brings the selection back to 87 BPM. The first relevant change arrives with GDS’s “Smokescreen”: it is listed at 107 BPM, in B major, with a 3:54 duration. Against the 86–88 BPM block, that 19 BPM displacement is the most visible break before Untrue returns to 86 BPM and E minor on “More Than Loving.” Sub:liminal and SoulDR!P extend the same tonal centre on “Conversations,” 87 BPM and 5:32, the release’s longest duration.
That E minor pair provides a verifiable continuity between two different durations, 4:28 and 5:32. Cnof moves to G major on “Grey Sky,” 4:20 at 86 BPM, setting up Redeyes’ close. “Down Chat” is set apart by two facts: it is classified as hip-hop rather than drum & bass, and it is credited at 154 BPM. It is also the shortest piece at 2:08 and uses G minor, a key already heard on “Minorities.” The contrast does not depend on assumptions about production or atmosphere; it is embedded in the supplied genre, tempo, duration and key data.
The volume’s editorial reading therefore lies in how Vandal Limited orders a foundation of closely related speeds and inserts two exceptions on different scales. “Smokescreen” changes the numerical centre without leaving drum & bass; “Down Chat” changes classification and tempo at once. Around those pieces, Dunk, Broma, Inkognitiv, Blix, Dauntless, Noppo, Untrue, Sub:liminal, SoulDR!P and Cnof sustain a repertoire in which the relations between BPM, keys and durations offer the clearest points of reference.