I’ve probably had one of Murlo’s tunes stuck in my head for the majority of 2013, his fluttering melodies set up shop in the brain and refuse to leave. Working mainly in the crevices between grime and dancehall, he has carved out a sound truly his own. Romantic, wistful and primed for a sunny day in the park. At the heart of his sound is a seemingly endless arsenal of melodies – clouds of darting, fluttering pizzicatos that shade dancefloors with misty-eyed nostalgia, that are as effective in switching up the vibe in a dance as they are in inducing eyes-shut bliss on the bus home. I’m thinking of Patang’s lackadaisical stabs, Windbreaker Riddim’s jabbing fanfare, and Irises’ darting strings. Traces of Murlo’s melodic influences can be found in his remix work – a batch of RnB refixes, T2’s classic ‘Heartbroken’, Crazy Cousinz’s ‘Funky Anthem’. Recently Murlo has adopted the moniker of DJ Sharda to pursue bumping, feel-good bassline, with equally great results. While a recent collaboration with Famous Eno hinted at a darker, unsettling edge, these tracks inhabit such an uplifting space, one that, with fear of sounding reductive, is not usually associated with grime. But it is this combination of grime’s raw energy and power with dancehall’s good vibes that makes it all so refreshing. Of course, what greatly aids this perception of Murlo’s idyllic, arcadian sound is the aesthetic that comes with it, which is constructed by Murlo himself. The music’s romanticism is expressed through his art – deformed creatures, ancient, smoky landscapes and symbols of the occult accompany his magical twinkle.
Murlo’s mix rolls through new bits from the man himself as well as dubs from those on the same page, with JT the Goon being particularly notable in that respect. Murlo is exemplary of what this series is interested in, those blending spheres, pushing boundaries, and staying true to grime’s ethos of progression, musical expansion and banger melodies. It is an absolute pleasure to have Murlo bring us the third instalment of our fledgling series.
On a side note, this might be a good moment to suggest some things that we’ve been feeling. Saga’s ‘Crescent’ EP is a slamming set of percussion-lead club bangers, while Rabit’s ‘Sunshowers’ EP should fulfil your thirst for all things icy. Drippin’ and Copout brought epic, lose-your-mind power on the ‘Night Flare‘ EP and Fatima al Qadiri conquered the dub war with ‘Knight Fare’. Elsewhere grime’s relationship with US east coast club sounds continues to flourish – on that tip keep your eyes peeled for excellent forthcoming EPs by Miss Modular and Sudanim for Her records. C.Z.’s ‘Stacks VIP’ pairs off Jersey’s donk with rotting squarewaves, as explicit a hybrid you’re unlikely to hear outside of Logos’ Ha flip of ‘grime’s year zero’, Pulse X (which features in Murlo’s mix).
Murlo was also kind enough to answer some questions for us, so read and listen on.
Stream: Murlo – Functions Of The Now
Truants: Could you tell us a bit about your involvement with Hipsters Don’t Dance? Murlo: “Inie and Karen (Hootiewho & Kazabon) were the first guys to give me a platform in London before I moved up here. I’m basically a resident DJ there now and the parties are always wicked.”
What’s the vibe like in London at the moment for those who aren’t there? With an eye on twitter it seems like upcoming producers in the grime scene are swapping endless amounts of dubs and there are collaborations popping up everywhere – and obviously you just put out a single with Famous Eno. There seems to be a real community spirit. “Yeah, people have been really supportive since I lived up here, there’re a lot of producers that are working together and trying new things out. Not just a London thing with that though, the community spirit is spread over the net. There are a lot of passionate people that aren’t based here.” Is the net a big influence on your music? What are its effects, outside of communications, on the scene? “Yeah of course. I mean, I haven’t experienced what it was like making music before the net but I was already exposed to so much stuff via youtube and soundcloud before I got started playing with fruity loops. Its nice to go into a club in London and hear people bring their own personal take on a sound, and to take an example of a night such as Boxed; I go there and hear tunes from producers in Australia and the US and loads of other places. There are a lot of wicked producers that just operate on the same wavelength. I think a positive to take from it is that it does inject new directions that a genre can take.”
Could you tell us about your relationship with dancehall? I was thinking you might be able to run through a few of your favourite riddims at the moment. “I love the work rate and the attitude of dancehall producers. It’s constantly moving forward and developing. For me the most innovative stuff comes from producers like the Ward 21 guys and Dave Kelly. Couple of the riddims I’m feeling at the moment are the Wi-fi Riddim, Bell foot riddim and Kalado’s ‘Bad inna bed‘.”
From what I can gather it looks like you’ve been rolling with another moniker, DJ Sharda, looking more at bassline. What’s the story there? How does Sharda differ from Murlo? “This summer I was waiting for releases to drop; I’m pretty impatient with holding on to tunes, I just wanna share everything I make straight away haha. I had an idea of coming with a slightly different approach to bassline so DJ Sharda kinda came out of that. I guess it isn’t sonically much different from my Murlo stuff, it’s more playful maybe. It’s nice just to have projects you can focus on from the ground again.” Are there any plans for a Sharda release, or is it just a bit of fun at the moment? “At the moment I don’t really have any plans for the tunes on soundcloud, I didn’t make them with the thought of releasing them but I’ll see how it develops and maybe further down the line I’ll work on new tunes for a release.”
Your melodies are always so evocative and vibey, what is your approach to melody? You seem to have special relationship with strings in particular. “Comes from everything I listen to I guess. I listen to a lot of RnB and dancehall and both genres are rich in that aspect. I think with the string thing it’s the same case. All my favourite garage and grime tunes have the odd cheeky pizzicato in them, it’s a really versatile instrument. Kinda timeless, y’know.”
You’ve also dipped into the visual side of things – there are some videos on youtube and also the Adder EP’s cover art and video. As a designer and visual artist, what’s the connection between your aesthetic and your music? “I’m big on video games and films. I don’t think about it really, it’s like a necessity that your music and artwork have the same amount of effort put in. I studied illustration at uni and the visual stuff is something I can always see myself doing coz I’ve been doing it for so long. It’s important for me to work hard on both things in a release, the artwork / video has such an impact how people take in your music I think.”
We haven’t really spoken about grime yet, although that’s what this series is about haha. What attracted you to the sound? “I started off playing garage, bassline and a bit of funky when I moved down to Brighton. I use to play a lot of stuff at the fund raisers that I started djing at so I never really just focused on just garage or just grime. Grime always had a great pace to it. I wasn’t ever massively into the dubstep produced instrumentals at that time though. Early tunes like Commander B’s ‘Pum Pum Riddim‘ was a regular in the sets though and still is.”
How do you feel yourself fitting in with the grime scene in general, both new and old? I’m asking because, although you seem to be involved, you have quite a distinct sound to other producers with the dancehall and soca combination. “It’s funny, I wouldn’t say I’m a grime producer, it’s where my head is at at the moment for sure though. I can’t see myself sticking to just one range but I’m really excited with tunes people are sending me at this kind of tempo at the moment and I’m really enjoying making it. I’m not really too sure what the old school heads think of my stuff, it’s obviously jumping back and referencing earlier parts of the sino-grime era. I think some people are put off by the lack of focus on MCs too, but each to their own y’know. Grime is a broad spectrum of tastes, it’d be boring if everyone was into the same thing. I think with the dancehall stuff it was just something I really enjoyed hearing in grime and applied it to slower tempos, you don’t really have to look far to see crossovers too, just a few months ago Riko Dan came with Rise of the Farda which was wicked.”
Tell us a bit about the mix you put together. “The mix focuses more on the synthy melodic style of productions coming through at the moment as well as a bunch of new ones from me. If you like any of the tunes follow the producers on soundcloud and send them love.”
What’s on the cards in the coming months? “If everything goes to plan the Last Dance EP will be seeing its release later this month. Got a few shows coming up and I’ve been working on a new release with Tight Knit Records I’m pretty excited about.”
Rabit – Sun Showers
Murlo – Velvet Wall (Slackk Remix)
JT – Oil on Ice
Dark0 – Phobos
Major Grave – Looking Forward
Midnight Mike – Untitled
Murlo – Pharaohs
50 Cent – Lil Bit (DJ Milktray Edit)
Wiley – Cable Street
Shriekin’ Specialist – Take Down
Murlo – Untitled
A Chan – Needs Must
Danny Weed – Names (Samename Remix)
JT – Twin Warriors (Murlo Remix)
Dark0 – Chaos
JT – Document 9000
Moon Gangs – I (Murlo Remix)
Murlo – Pit Lord
Slackk – Bamboo Houses Edit
DJ Eastwood – Ready 4 Da Grime
Logos / Youngstar – Steel Pulse
Murlo & Famous Eno – Ariel VIP
Dizzee Rascal – Strings Hoe (Wen Refix)
T_A_M – Tail Snap (Murlo Remix)
Shriekin’ Specialist – Too Right
Watson – I don’t Wanna
Inoj – Love U Down (Murlo 8bar Remix)
Meleka x Kevin Gates – Go (Murlo Blend)
Murlo – Throne Seduction
Slackk – Empty Bottles
JT – Twist of Fate
Drippin – Adrenaline (Murlo Remix)
Dizzee Rascal – I Love You (Remx ft. Wiley & Sharky Major)
Murlo – Last Dance
Artwork Credit: Joseph Jackson
Druid Cloak is taking giant leaps in the game. Rapidly becoming amongst the most prolific of producers, the man billed from Moonstone Grove, United States has been making waves with his bootleg series, Club Cosmos, and recent EP for Bad Taste Records, Bastion Of The Sterling Thrones. In addition to this, there is the inception of his new record label, Apothecary Compositions. With the well-received release Espoir Voyage by 813 already under its belt, and another forthcoming in Madhouse by Imami, there is excitement aplenty on the horizon for this producer.
Druid Cloak operates best when he has a vision in mind. For example, on Bastion Of The Sterling Thrones, he told us the old story of a hero battling evil to save his true love and, to his credit, that comes across over the course of those three tracks. A year on from The Grove, his debut release on Kastle’s label, Symbols Recordings, we are invited to further explore the landscapes he’s created in Return To The Grove. As you’d probably expect from somebody called Druid Cloak, these landscapes are doused with ethereal fantasy and other-worldliness.
The opening track, “Netherdrake”, welcomes us back to the dancefloors of The Grove. A spot of atmospheric soundscaping gives way to a compelling four to the floor as staccato synths accent the driving bass. Druid Cloak spins the vocal sample here in a multitude of ways. The pitch is scattered to add to the texturing early on but we’re allowed to hear it in its full glory when the track is reset midway through, providing a moment of clarity before we’re whisked off again. Tropical boom-bap mutant “Ghost Iron” starts off with afrobeat percussion which is quickly dissected to show the track’s true colours. Its parts are evident all the way through the rise and fall but are hidden underneath brazen brass stabs, elegant piano and further evidence of Druid Cloak’s ability to screw a vocal. “Emerald Aura” is built around another vocal sample. This one utters “changes” at every turning of a corner as the percussion shuffles and something like the warped reminiscences of lift music set the atmospherics.
If “Emerald Aura” shows the residents of The Grove in the middle of their blissful afternoon nap, “Hearthstone” serves as a reminder that they can very much turn up. It isn’t immediately apparent, however, and it takes almost a minute for this track to reveal itself as borderline jersey club in its approach (although the bass isn’t as prominent as you’re likely to encounter with the stalwarts of that scene). Druid Cloak’s penchant for twisting vocals to suit his needs manifests itself again and makes “Hearthstone” a joyfully raucous, high energy affair. The final track, which finds Kill Frenzy remixing “Hearthstone”, doesn’t particularly belong with Druid Cloak’s vision of The Grove but is dancefloor worthy in it’s own right. It’s quite difficult to see what Kill Frenzy has used from the original but there’s a lot going on in this bombastic house number and certainly enough here to keep your head bopping/ feet stomping throughout it’s entirety.
Druid Cloak’s versatility is perhaps the thing that comes across most strongly over the course of this release but he’s not just flexing for the sake of it. Each one of these tracks, as different as they are, make as much sense in one continuous listen as they do should you pick and choose at your leisure. If you couple this with his growth as an artist since the release of The Grove and his dedication to putting out quality new music on the regular, it can only be a matter of time before Druid Cloak gets some more of the recognition he deserves.
Druid Cloak – Return To The Grove is out now on Symbols Recordings.
Words by Matt Coombs, 22 October 2013. Leave a comment
Mamiko Motto is never idle. Between Hepcat Radio, her weekly show for NTS, her regular DJ gigs and her full-time university studies, she’s constantly busy, but she wouldn’t have it any other way. She’s just about to drop Amada, a 14-track compilation full of exclusive material for Dublin’s All City Records, and we caught up the Lithuanian-born, London-based DJ to talk Eurovision, ballet, how she connects the dots between Total Recall and Björk and much more…
So what have you been up to recently? “I am studying full time audio engineering. It’s an intense course without any holidays, so I pretty much have exams all through out the year. In the meantime trying to finish up all the small details for the compilation that I have coming up on All City Records.” How long have you been on the course? “I’m nearly done with the first year. I still got one more to go.” Has it been hard to fit things like the compilation and the radio show around it? “It’s not easy, but I wouldn’t want it the other way around. I love pressure. It makes me more creative. I somehow noticed that for a while now. Even if I have three months deadline to do a mix or something I will end up recording it in the last eight hours and it will turn out just as good or even better as if I would be doing in ‘relaxed’ mode. I like to call myself last minute baby when I’m stressed … but all that stress somehow turns my creative engine on to the maximum so it suits me.”
Can you tell us how you first linked up with All City? “I met Olan quite a few years ago when I was touring with Hudson Mohawke and was hanging with Mike Slott. I think first we met in 2008 or 2009 when Mike Slott, Hudmo and I had a gig in Twisted Pepper. I really enjoyed that weekend. I remember I made everyone watch Eurovision before the gig. I LOVE Eurovision.” I can’t imagine they enjoyed that. “It was very funny, cause we all were waiting for the Lithuanian band to come up, cause I’m Lithuanian, but unfortunately we turned the TV six minutes past the programme start and Lithuanians came first, so eventually we watched like other 20 countries, and never got to see the Lithuanian song. Put it that way… Everybody felt a big relief when Olan said ‘We have to go to the club now’. I was bit gutted. But it was an amazing party and I have very good memories about Dublin. Mike Slott also had a talking parrot, who’s called McLaud or Mcloud. I spent the rest of the weekend trying to tame him but he wasn’t having it. I’m really looking forward to return to Ireland. I really enjoyed my stay in Dublin every time I was there.”
Getting back to the compilation – how did you go about choosing the artists to feature on it? I know you’ve been championing Mweslee and Dorian Concept for a long time, but the other artists? “I’m just constantly looking out for something new , something different. Hosting a radio show for 10 years kind of trained me to I think. On weekly basis I try to surprise my listener and play a set of music that they wouldn’t come across themselves but would still love the sound of it. It somehow always was important for me to feel and make others feel too. This compilation is really based on feelings. It has 13 of my current and all-time favorite producers who I respect for their quality or originality. And a few very young artists like SCNTST or Silkersoft who are barely 19 years old and already developing original sound. I started working in the music industry being really young and now as I am older I really want to support young talents. It’s very important to me.” That’s cool. Since you mention him, I really love that SCNTST track, he’s got such a unique sound. “Yes. I am very happy I’ve met him. He is now signed to Boys Noize records, and has an incredible debut album coming out on 22nd of November, its called Self Therapy. It’s really mature in sound for someone so young. Bryan or SCNTST sends me three new tracks a day via Skype. He’s like a machine and I’m happy to notice that he’s just getting better and better in his skills. He will go very far if he’ll keep his ambition.”
The compilation has been in the making for a while now – what’s it been like putting it together, and why has it taken so long? “It’s a number of things. First of all it’s an exclusive compilation. Tracks have been deliberately made for this project. That takes time. It was a bit like conducting an orchestra. After producers made those tracks I still had to like them and accept them then I had to present them to Olan and get the pass too. Being perfectionist as I am is really tough on the job too. I had to find many perfect solutions for many not perfect situations which always pays in time. Finally we are here and the feedback and demand is incredible so far so I can not wait to share this compilation with everyone.” I’ve really enjoyed listening to it the past few days. It’s got a great diversity to it. “It definitely is very diverse. I was never sure if that was a good thing or a bad thing. But eventually I decided to go with it as my aim was to create more of a listening experience than a selection of tracks for DJs to play in clubs if you know what I mean.”
The artwork is incredible – do you think it ties in with the music? “The artwork is incredible indeed. I definitely think it ties with me. Everyone who knows me says, ‘Oh Mamiko this artwork is you on paper’. It’s so true. I think it’s young, vibrant, inspiring and uplifting, and it gives you freedom to think for yourself just as I believe this compilation gives you freedom to your own thoughts and feelings.”
Your main role is as DJ, but you’ve done some production work – is there any more of that on the horizon? “Yes. I had to focus on my studies this year. I had a lot of physics, acoustics, decibel and all sort of theory lessons that I had to study hard, and working on the compilation and radio shows, DJ gigs, I ended up barely ever having any time to make music. Now as I’m pretty much done with the hardest stage of university and my future plans are kind of clear for 2014 I am really looking forward to finally finish my debut EP myself. I even have several labels who are interested in releasing it, but I just have to finish it.” Can you talk about what it’s going to be like yet? “You know it is difficult for me to describe it. It’s definitely electronic music. I would probably call it TOTAL RECALL genre. But a lot of friends of mine who heard it say it sounds like Björk a lot. So I guess somewhere between Arnold Schwartzneger and Björk … Ahhh I’m talking crazy again. You will just have to wait and hear it yourself.” Do you sing on it? Or is it instrumental? “I sing a lot… lately even more and more, but i am not sure I will end up using any of my demos with my voice on it. Total Recall is my favorite film in the world, I know it by heart. One of my favorite things about it is the sets. I’m really fascinated by all sorts of trucks and those big monster lookalike gadgets. None of superior graphics would ever change that for me.” Like the Björk ‘Army of Me‘ video? “Oh yeah that video is great too. See, maybe at the end there is a connection there!”
The way you DJ is, as far as I know, deliberately haphazard. Have you faced much conflict over that? “It depends you know. I definitely do that at the radio. Radio feels a bit like my home where I just play music I want to hear and let my friends hear too. As for clubs. It depends. If it’s a cosy capacity and If my spiritual animal feels good inside then we go for it. But if I play in front big audience I have to deliver energy which I have to say I more and more enjoy doing. I probably would call my sets organised confusion. Even if I mix 100 genres in 30 minutes set I still know what I’m doing in my head. (Or at least I hope I do). I just want people to hear something fresh and new rather than same 50 tracks that knock about your regular digital record stores.”
I know you haven’t lived there for a while, but do you keep up with music from Vilnius? Could you recommend any Lithuanian artists for us? “Yes. I don’t live there for a long time and I don’t visit Lithuania as much as I should, but I still got very warm feelings for my homies. I recommend producers called Marriage Proposal or Boyfriend. Mondayjazz are always doing good things and all my Satta Festival crew are putting Lithuania on the electronic music map. We have a strong Jazz & Classical music culture as well as Ballet which I am particularly proud of.” Did you do ballet as a child? “Yes. It was my first dream to be a ballet dancer. I started going to classes since I was three but eventually my father had to teach economics in Russia or Germany and there was no one to take me there. At the same time the ballet standards in eastern Europe were really particular, and it always seemed like I was too chubby as a child. But my heart still bleeds a bit remembering how sad I was to be forced to quit my first life dream ever, lol. I couldn’t ever pronounce it. I used to say I want to be ‘baralina’, cause I couldn’t pronounce L, and would replace it with R. Lithuania is a nice little country. It would be difficult for me to say it otherwise. Vilnius is really pretty and looks a bit like mini Vienna. We also have seaside and loads of forest, nature. It’s cute.”
When was the last time you danced? “This morning. I have a dancing routine every morning unless I’m really late. But I start my day with the shower, coffee and nice fake karaoke/dance/getting dressed kind of performance for myself in the mirror. Usually to some 80s jams. It always puts me in the good mood to start the day and face the world.”
What’s your drink of choice? “Vodka. I drink vodka lime soda. LOL. Not gonna say anything else.” What brand of vodka? “Grey Goose is fantastic brand. But I also love Lithuanian Vodka a lot. I think they really do a very good job at it. I always try to bring back some bottles when I travel there. Otherwise on a no special occasion kind of night I drink Russian Standard or Stolichnaya.”
Mamiko Motto presents Amada is out on November 8 on All City Records.
Words by Aidan Hanratty, 21 October 2013. Leave a comment
Ghetto Heaven Vol. 1 is spectacularly late. Originally slated for a July 4th release, Cam’ron’s first mixtape in nearly a year and a half opens with a peanut gallery of voicemail grievances bemoaning the lack of new material from the Harlem rapper. The messages complain about being “tired of listening to “soft ass rap…I woke up crying the other day for no damn reason” and “more n*ggas out here wearing skirts than b*tches” (slightly ironic, given Cam’ron’s pink jacket-wearing and Range Rover-driving past). The only voicemail that Cam actually takes the time to answer is from Halle Berry’s assistant Denise, who turns out to be yet another dude yelling at him about how the tape better come out October 1st, or else. Despite the three-month delay, impostor-Denise is probably pleased because Ghetto Heaven Vol. 1 did end up dropping by the new deadline—and it’s a strong indication of Cam’ron’s signature sound, for better or for worse.
Ghetto Heaven Vol. 1 is messy, but not necessarily the mid-00s style of messy that gives Cam’ron mixtapes their classic charm. Gone are the days of redlined Hitmakerz beats and DJ Kay Slay yelling over the beginning, middle, and end of every track; instead, there are samples from the Lion King, the Golden Girls theme, and Cults, to name the more colorful choices. Cam’ron is no stranger to interesting samples (he’s rapped over Carmina Burana and Cyndi Lauper on the same album), and these borderline-goofy selections are just a different method of challenging the expectations of his audience. It’s doubtful that a Golden Girls sample is what that angry voicemail caller had in mind as an alternative to “soft ass rap,” but Cam’ron’s ability to juggle unconventional samples with gritty verses is part of what propels him beyond the herd of mediocre New York rappers. What’s stuck around from the idealized Cam’ron of a decade past, thankfully, is his outstanding gift for wordplay. Lines like “still moving weight, I-95/ a I-80 hoe, 95 pies/ fuck a 9 to 5, air max ’95/ watch flew in from Germany, that’s how time flies” from “Think You Need Love” indicate his often (poorly) imitated mastery of internal rhyme, while “ten hoes/ three O’s/ two homies and an orchestra” from “Dat All” bears the classic patterning of his sparse but sharp delivery. There are few rappers who command attention as effectively as Cam’ron does while using so few syllables. His bars are short, lethal, and memorable, which makes them perfect for Tweeting: likely another reason his popularity has endured despite his thinning output.
His sense of humor hasn’t gone anywhere either, and so we get hilarious lines like “the Lenox Ave Forrest Gump, I’m on a long run” and “not Jamaican but I gave her my jerk sauce.” In the eternal quest to stay relevant, Ghetto Heaven Vol. 1 has plenty of bits about social media as well: there’s a track called “Instagram Catfish,” and “I’m an OG/ emoji mad face” might best encapsulate the fusion of old Cam’ron with 2013. You’ve probably already seen Tweets quoting Tiff the Gift’s “Instagram Skit,” where she cusses a girl out for “liking [her] mans pics on Instagram.” Despite his absence on the track, it’s impossible not to imagine him cracking up in the studio at this scenario. Recorded telephone conversations are another classic instrument in Cam’ron’s rap toolbox, an additional display of his talent for adaptation. Not only is Ghetto Heaven Vol. 1 cognizant of the Internet-addled, shifting rap landscape, but it successfully embraces it as well.
Cam’ron’s Ghetto Heaven Volume 1 is out now. Download via DatPiff.
The swell is important to Ryan Lee, aka Rival Consoles. “I realised that hardly anyone has done that in electronic music,” he says. While that may not necessarily be true – Throwing Snow, Stellar OM Source and Jon Hopkins have all used it to great effect in recent times – he’s certainly on course to making it his own. ‘Philip‘, the standout track from Odyssey, his latest release for Erased Tapes, ebbs and flows with the power of truly great emotion. The opening moments see the delicate push-pull of rubato quavers, crescendo and dimmenuendo, crescendo and dimmenuendo. This swell carries on throughout the track, even as harsh plucks and feather-light percussion floats around this main theme. Three minutes into the track a sudden stop and a sharp intake of breath seem to indicate closure, instead leading into another minute of more frantic push and pull. On an entirely different tip, ‘Voyager’ takes a bright, almost tropical melody and pitches it against squelching effects and, again, swelling, sliding synths. It’s even clear from the eponymous opening number that warm, sumptuous chords are Lee’s stock-in-trade. An ever-rising phrase that begs for resolution sings over a plodding, one-note bassline, while crisp percussion holds it all together masterfully. It’s dancefloor ready, but exudes a lustre that sets it outside the realm of simple club fodder.
‘Rebecca’ is a buzzy, playful number, switching between virtuosic melodies and obtuse layering at will. A short vignette, it displays a touch of frivolity compared with the angst-ridden ‘Philip’. ‘Soul’, featuring Erased Tapes label-mate Peter Broderick, is a reworking of the vocalist’s ‘Proposed Solution To The Mystery Of The Soul’, featured on last year’s These Walls of Mine. A funky, stomping number, it takes Broderick’s brooding vocal and injects it with power and pace, closing the release with an even more, dare we say it, soulful palette than one might have thought possible. All told Odyssey is a successfully diverse collection of tracks, with enough consistency of sound to negate any sense of waywardness, as well as fitting in perfectly alongside the more classically minded releases on Erased Tapes.
Stream: Rival Consoles – Voyager (Erased Tapes) (via XLR8R)
Words by Aidan Hanratty, 17 October 2013. Leave a comment