Truants

Review: Scuba – Personality

All commotion surrounding Scuba’s personality aside, his tertian full-length “Personality” certainly comes as a surprise. Anyone hoping for a sound reversion back to his “Triangulation” days can dispose of their expectations as his new record stands in diametric opposition to his older raw, minimalistic techno/dubstep approach, though this was already a given after the release of his latest two singles. First came “Adrenaline”, undoubtedly one of the catchiest  tracks to be heard on many a dancefloor over the last few months, followed by the slightly alarming “The Hope” – a spoken prog-house track, almost making for a fatiguing listen to the unwary auditor. On his new album, Paul Rose takes a step further and branches out to an extreme variety (and choice) of genres, throwing electro breaks, eighties pop and ambient all together on the same record and draws for a more playful and accessible sound than anything he’s put out before.

Stream: Scuba – Ignition Key

“We’re all unique, or are we? Most people are fucking boring, to be honest. What is it about you that makes you different to other people?” speaks Rose at the start of the record as a slightly moody introduction. One that doesn’t work as a deterrent however, sounding tongue-in-cheek and a little teasing as the good, old Rose we know and it’s quickly followed by an extremely uplifting introduction to the first song on the record. “Ignition Key” receives the honor of setting everything in motion: a celestial jam with 80’s synth-work and vocal cuts which one probably wouldn’t have guessed was produced by Rose, even after hearing “The Hope”. This could apply to most of the album, and although this radical change of sound may be viewed as catering to the masses, if this were the case Rose probably would’ve ventured in an even more boundless direction of poppy break-core. It’s a refreshing change, and rather than winking to the commercial side of music, he showcases a new, confident  club sound and his unrestrained skillfulness as a producer.

Where the album starts off quite uptempo, the pace is slowed down in its successor ”Underbelly”, one of the more mellow tracks on the album. Probably a good choice of order to prepare the listener for what’s to come, but this is also where the record immediately gets lost in structure. What’s to follow is a disordered collection of music – from the militant and bass-loaden “The Hope” to a slightly ambient sounding “Dsy Chyn”, back to the joyful “July”: and this disarrangement of sounds goes on during the entire record, without displaying a certain connection. It appears however that this variety is the point of the album: Rose has said that he cut down a quinquagenarian of demo’s for the album to an amount of eleven tracks that show off his his wider range of influences and abilities in the studio, without following a blueprint of some sorts. It ends up being a shame because although it’s possible to connect to the tracks as individual pieces, it’s difficult to follow what’s going on with “Personality” as one coherent entity. This also makes the lesser tracks on the record stand out more, but luckily this also gives space to focus at the high points such as “Cognitive Dissonance”.

Stream: Scuba – Cognitive Dissonance

There are a couple of more gems on the album, such as the soulful shimmering piano track “NE1BUTU” and the beatific dancefloor filler “If U Want 2″. This is probably the best way to approach the tracks on the album too; separately. And to get the most out of it, preferably while dancing in a club near you. The new Scuba productions are definitely exciting, and it’s reviving to see someone from the golden age dubstep troop trying something completely different without any hesitance. There is definitely something on “Personality” for everyone and if you think differently, adopt a pet. Honestly, a cat. It will relax you. A baby cat at that. Adopt baby cats! x

Scuba’s Personality will be released through his own imprint Hotflush Recordings on February 27th. Meanwhile, you can stream the full album here. 

21. February 2012 by Immy Soraya
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Review: Ital – Hive Mind

Daniel Martin-McCormick of Mi Ami, Black Keys, and Sex Worker introduced us to Ital, an outlet for his more dancefloor orientated house music, last year.  With the sonically diverse 12”s he released on 100% Silk behind him, he’s decided to break in 2012 with his debut album, Hive Mind, on Planet Mu. The album is just under 50 minutes long and full of ideas which are executed in five lengthy tracks.

The album’s opener “Doesn’t Matter (If You Love Him)” gets into the swing of things quickly, starting off with sporadic vocal chops of Lady Gaga’s “Born This Way”, which leads into a funky, 80s sounding bassline.  Both these elements add interest, but what stands out in most of Ital’s tracks is the way he uses pads.  They shoot from the left and right, pitching down all the way to the center of the mix, until they almost drown out all other sounds.  That combined with some slightly tropical percussion makes it easy to picture yourself relaxing on some island near the equator, drink in hand, headnodding under the stars.  This is the perfect way to introduce listeners to his sound.

“Privacy Setting” is on a completely different tip; this is where the album takes a sharp turn left into dark, borderline ambient noise.  Any percussion used is drowned in reverb and filters and the synth work brings to mind his song “Rhythm of the Night” released under Sex Worker.  Midway through this unholy symphony he decides to incorporate wolves howling, which is surprisingly fitting.  It’s as if he is transporting the listener into a dark and twisted forest.  This might have been more suitable later in the album as a nod to his previous work, but is welcome change all the same.

Stream: Sex Worker – Rhythm Of The Night

After “Privacy Setting’s” leftfield detour the album shifts back to the four-to-the-floor formula.  “First Wave” is one the album’s strongest tracks and sounds like a potential FaltyDL track with drums that are just shy of Lustman’s NY garage shuffle.  Once again he relies heavily on lush pads that pan left and right, which begin to change about halfway through the track into something with a bit more timbre and substance. The track sounds natural partly due to the arrangement and automation, which feels almost entirely improvised. The end result is a lovely house tune full of energy and variation.

If the Catholic Church used synthesizers instead of organs and pianos during service, the intro to “Israel” is what it might sound like. Toned down, melancholic pads start the track and sustained FM bells are sprinkled on top while audio from an interview, or something along those lines, is laid on top.  Deep basslines chug along letting the glassy pads and either a cowbell or train bell sample guide the track towards its 10-minute mark. As with many of Ital’s tracks it’s a slow burner capable of being headphone music or mid-night dance floor filler.

“Floridian Void” is a fitting closer almost like the last track at the end of a night when you want to dance just a little bit longer, but know you only have five or six minutes left.  In that way Ital tries to fit a lot into this one track; there are distorted conversations, ambient noise, artificial percussion elements, swirling FX and synths. All of that bundled together creates a dark, eyes down environment similar to “Privacy Setting” with a pinch of stomping techno.

Ital takes an interesting path with this album – it is slightly leftfield, but at the same time quite danceable.  With its intricate percussion and creative synth work, Hive Mind has the potential to appeal to house DJs and enthusiasts as well as people with a penchant for synth pop and electronica.  He’s clearly a man with a lot of ideas who knows how to execute them; the problem arises when he crams too much into one track.  It is similar to the problem Dam Mantle had early on, and one that time and experience will hopefully sort out.

ITAL “Floridian Void” (Planet Mu) from the upcoming album “Hive Mind” out March 6th on Backspin Promotions.

16. February 2012 by Jonathon Alcindor
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Recommended: Deemphasis – The Loss Of Gravity EP

Deemphasis is a producer from Clermont-Ferrand in central France, a town known for its tyres, rugby, and a big statue of Vercingetorix. But that snapshot doesn’t really get you any closer to the music this guy makes. “The Loss of Gravity EP”, released this week on the London-based Shameless Toady label, is made up of two tracks that bristle and snarl with crisp electro.

Opener “Connected” calls to mind tracks like Anthony Rother’s “Red Light District”. Brooding metallic snares shimmer under a single synth line that almost feels like “Röyksopp’s Night Out” has taken them to the seedier side of town. Acid lines gurgle and twist and drive this track forward, while entirely indecipherable voices lend an even further nightmarish quality to the proceedings. The title track continues in a similar vein, pummeling forward as it utilises sounds you may expect in a generic electro-house track but twisting them to Deemphasis’ own ends. The lower register groans as acid themes abound above, while the frenetic percussion adds an air of relentless movement to the track. Neither track reinvents the electro wheel, but both display the ability of a producer well versed in the history of the genre, as well as a label not content to latch on to any passing fad.

14. February 2012 by Aidan Hanratty
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