Andrew Bayer – It’s Artificial

It’s Artificial is the very recently released debut album from the US-based artist Andrew Bayer on the trance stronghold Anjunabeats label. Bayer’s background contains a lot of roots in trance and other electronic-oriented music. He has collaborated with fellow musicians Boom Jinx and BT (“The Emergency“) in the past, producing formidable results. However, he is mostly known for his work in a duo trance act dubbed Signalrunners with partner-in-music Alan Nimmo. With Nimmo, he is responsible for some really fantastic sounds under the Signalrunners alias since its inception in 2003. The duo also released a nicely composed single called Unconditional in 2006 on Mondo Records.

However, as a solo artist, It’s Artificial is his debut album released not too long ago this year. And although the background of Bayer is deeply rooted in trance music, this album does not contain so much of those elements typically found in that genre. Instead, the record penetrates the glitch-hop realm of the music world heavily infused with elements found in idm and breakbeat-based work. The record would fit perfectly within Ninja Tune’s catalog or even Planet Mu, just to give you an idea of what you might expect within.

“Counting the Points”, as linked above, almost has a certain µ-Ziq-quality to it, especially heard within its beginning.

Armed with a seemingly hypnotic glitch-hop framework, the record effortlessly provides ample replayability value with extraordinary craftsmanship and a BT-like attention to detail. I think it’s rather impressive considering the album’s gorgeous versatility, although perhaps to some it may not immediately be apparent.

With his debut, Andrew Bayer has created a work so composed and intricate, that it may stand to rival heavyweight albums in the same genre. Spacious vocal-less breakbeats with glitch-hop? Yes please.

For more information, please check out the following resources:

– Last.fm

– Discogs

– Anjunabeats blog

If you like the record, do yourself a favor and buy it at:

– Beatport

– Audiojelly

– Amazon

Download.

Sub Focus – Sub Focus

posted by Unctuous

The self-titled album from DnB producer Sub Focus is an nothing short of action-packed thrill ride. The beats, and subs sound stunning; smooth and well produced. This DnB manages to find a perfect balance between “not too light,” and “not too heavy” in that it has a great sense of space, but one that is not completely overblown and consuming. The track “Move Higher” deviates away from the traditional DnB sound, moving towards a more Deadmau5 house sound with fat, modulating basses, and a grooving rhythm part.

“Let The Story Begin” opens the album with a trippy mix of squealing synths and beats that get the album started in a no-nonsense way; getting right to the meat of it. Carefully chosen samples and mixing really make this track (and all of the tracks on the album) shine while incorporating a low, nasty sound of sawtooth wave synths.

This album is definitely one of the better sounding, and more creative DnB albums I’ve experienced. It seems to venture off farther from the typical sound of DnB today and throw in a few curveballs.

More information at:

– Last.fm

– Discogs

– MySpace

Support the artist, buy this release at:

– HMV

– Amazon

Download.

Kelpe – Sea Inside Body

posted by tara

Sea Inside Body is a 2004 release from UK artist Kel McKeown, a.k.a Kelpe released on D.C Recordings. While it holds ties to IDM, glitch-hop, ambient and electronica, I would hesitate to classify the album definitively. Although a breakbeat or dub pattern is audible on most tracks, the utilisation of both synthetic and organic instruments definitely bring this album into its own genre of creative expression.

What essentially occurs is a psychedelic journey through sound, each track encompassing a distinctive journey as new melodies are continually introduced and percussion loops reinterpreted. While not recorded in surround, Kelpe tends to bend his mix such that the layers are continually fluctuating in location and amplitude. He makes a sense of movement tangible in similar ways to other glitch hop artists, particularly edIT and Tipper. Interesting to also note the interpretation which can come out  of glitch cutting vocals in tracks like “Age Sculpture”, an arguable parody of the modern British woman.

All in all this album represents three years in a row of my perfect summer jams. It’ll take you from the train to the park to school to work to the party round the block and back home again. From lighthearted to melancholy, consistently bordering on the surreal, this album does what I find electronic music should always endeavour to do – redefine the boundaries of sound. Considering the sheer strength of the technology which lies at the fingertips of contemporary producers, it is arguably a sheer waste of time to simply regurgitate what has already been done.

For more info, check out:

– Last.fm

– Discogs

– MySpace

– Official Website

If you like what you hear, purchase it at:

– Amazon

– Boomkat

Download.

Tim Exile – Listening Tree

Tim Exile’s “Listening Tree” features a broad range of sounds and styles. From synth-pop to IDM this album manages to creatively combine these elements into something completely original. The sound of each track has a major focus on space; the vocals are spread widely across the stereo channels complementing rich samples that are often extremely long, and drawn out. The style of samples and rhythms are very reminiscent of Clark‘s work.

Melodies found in “Listening Tree” are often difficult to identify in terms of phrasing. Time signatures play a role in these abstract melodic lines which can leave tracks feeling off balance, but not incomplete, with tracks that seem to go from a standard 4/4 to a more unusual 3/4 or 5/4.

Towards the end of the album the use of the classic “Amen” break pattern is brought into light on tracks like “Carouselle” and “When Every Day’s A Number.” “When Every Day’s A Number” lacks vocals and relies solely on an ever-growing break pattern that starts as just a miniscule IDM break, but transforms into a full-blown drum & bass/breakcore monster. Finally, “I Saw The Weak Hand Fall” brings the album to a close with an anthemic chorus that builds its way up from a slow-moving ambient introduction.

More information at:

– Tim Exile official site

– Last.fm

– Discogs

– MySpace

Support the artist, buy this release at:

– Bleep

Download.

posted by Unctuous

Tipper – Holding Pattern

Tipper’s “Holding Pattern” simply overflows with juicy rhythms and deep bass lines. The album has a strong focus on syncopation, and lots of swing. The rhythms are generally crisp, upbeat, while the basses are more dirty sounding, but simple. The melodies are mostly composed of one-shot synths that pack a surprising punch, along with warped sound effects that add a more spacey, out-of-this-world feeling.

“Tug of War” indeed is full of flare; toying with IDM, and acid elements it (as does the rest of the album) seems to transcend the boundary of breakbeat alone. Other tracks such as “End of Make Believe” delve into a more relaxing sense with beautiful, mellow keyboard synths, and a minimal pad in the background to hold a harmony in place while a running breakbeat pattern goes alongside.

More information at:

– Tippermusic.net

– Last.fm

– Discogs

– MySpace

Support the artist, buy this release at:

– Additech.com

Download.

posted by Unctuous