Body In The Thames
Public Domain 3D Terrain
Disintegration State Records
TBR: January 15th
We welcome Disintegration State to 2021 at the Electro Review as they set sail with their latest catalogue entry. Public Domain 3D Terrain is the home-brewed sound potion of Sweden's Body In The Thames. The label have had their eye on this prolific producer for some time with headline work on Midland's Intergraded label plus remixes with Django Django / Self Esteem that demonstrate absolute proficiency. This full-length digital music production wants to sweep you away with clarity and class as well-made computer generated music forms unique and memorable functions of sensation.
With shimmering spotlights of abstract sound, keyboard works a crooked journey into a droning ambience. A humming throb reveals a layering of bass which accompanies the now melodious and evolving wavery kinesis. Slowly, the vibrations in the music grow and branch as separation of sound ensues. Electronic clicks wander along characteristic whisks of synthesiser. 6000...cash is a short number that creeps in and sits down without much fuss. It lets us grow fond of the choice sounds presented by the artist.
It follows with Alligator Souffle. Whisking chirrups of synthesiser spiral up and down as charming motifs sparkle around. A grabbing digital bass chants along with a stepping rhythm that insists we march along with it. A culmination of rhythm and melody grows like a crystal as facias and surfaces caress the glistening sunlight streaming in. Dancing funk and expressive motions of tone comply with steady bass which throbs in time and tune. Melodic edges play gracefully on the outer borders as self-similar phrases focus the flow.
A twinkling symphony of silken tones dances in a three-dimensional space somewhere above our heads. Plunging keyboard strikes dispel the gloom like comet-tails glistening as they plummet to distant horizons. A gradual unveiling of spectral majesty sheds the mantle of darkness as a sudden influx of chiming bass crunches in with a robotic influence. Harmonising digital tones wash with astral splendour as drums are layered in with a perfect transition. A kick drum and a shiny cymbal portray a neat and straight forward line through moving and weightless artefacts of sonic design. Xanthe Acid Youth glimmers with an ethereal cloak of translucent evidence. Shimmering synthesisers glance from gravitational waves under percussive propulsion.
A squelchy bass melody sponges and scoops with a swaggering rhythm as the next number opens up. Drums frame the sauntering digital effects of Bus Trips as tone reverberates along some meaningful reverb. Pulsing dapples sprout from undercurrents of rhythm which grow and push through the balance to dictate dancing warbles of melody. Tuneful bursts rise like newly formed birds leaping from dreamy realms made apparent by the wishes of well-behaved children. Frameworks of synthesised composition rise like scaffolding as the track is built up from simple rhythmic beginnings into complex and disparate shapes and sounds.
A new wave of funky rhythm pushes forward as the last instalment unwinds like a long day come to a close. A melody that carries like a cool breeze shifts evocations of sensation and dream while neat and well trimmed drums add just the right amounts of pressure. A drifting river that slumbers along in hazy evening light pours like liquid gold as the smooth and easy-going composition dictates. Some People Just Never Know When To Leave glides along with carefree abandon. Trills of slight melody scatter with temporal beats that reflect in the twists of flexing rhythm. Neatly parcelled sonic partitions span the distance taken as the adjusting and contoured projection continues with upbeat energy.
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