Sonic Fear’s “I’ll Be Your World” opens the collection off on a light and airy note. The sound is a luxurious one that increases in intensity. At times Sonic Fear’s “I’ll Be Your World” embodies a delightful trance pop stance.
Nimble guitar work introduces Daniel Monroe’s “Novacaine”. From such humble origins the song veers further and further down a more electronic path. As the textures change the song never loses sight of the strong melody.
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Cascading through with vibrant energy are the soothing sounds of “Below the Surface” by Upper Regions. Impeccable in design the song’s minimalism is one of pure wonder. The song’s length gives it an eternal, peaceful vibe.
A slinky sly groove drives the sunlit sound of Jon Lambousis’s “Confusion”. At times recalling the best of Orbital with its elastic inviting guitar, the song possesses an organic lilting melody. It is an absolute treasure.
Pure bombast defines 3logit’s “Limits”. Hyperactive in tone the song rushes through fields of sound. Tempos add to the song’s sense of controlled chaos, with the playful melody woven deep within all the distortion.
Cold detached vocals lead the psychedelic sound of This Human Condition’s “Psychotropic”. A driving rhythm leads the way across its stark yet beautiful melodies. Dance-oriented yet with a clear pop influence the song is positively infectious.
Opting for a hard-edged cinematic scope is the pulsing beat of Scott Cameron’s “The Stars Above”. The song races forward as Scott Cameron slowly yet carefully adds additional color into the mix. Particularly fine, the song’s crescendos and breakdowns give it a cyclical feeling.
Acid-tinged with a clear sense of funk is the insistent work of Acid Daze’s “Trigger”. Playful bouncy the song’s giddiness is undeniable. By infusing the melody into the rhythm the song has an elasticity that allows it an uncanny ability to surprise.
J Tizzle’s “Body Talk” goes for a decadent style. Bass thumps on a physical note as the song’s carefully worms its way around a funhouse of melodies, with each one playing off the last.
Offering a more ambient take on things is the spacious sounds of Cypha Da Moonchild’s “Drip Drop”. Filled with lots of interesting angles and a childlike melody, the song displays many elements of IDM as the sounds layer one on top of the other.
Time No More’s “Biodiversity” brings together lite elements of sampling, industrial, and electro into a satisfying whole. A melody emerges sounding akin to a tortured lullaby. Strange and oddly endearing the song has a tactile sensibility that works wonderfully as it gets closer and closer to its origin.
Elastic Plastic Generation’s self-titled track has an off-kilter reggae element to it. Vocals are twisted beyond belief. Rather elegant the song unfolds with great power.
“TAKEN” shows Hypnotriq taking on a surreal soundscape. A strange shoegaze approach dominates the sound. Coming from so far away the song appears to take on a more rock-orientated sound.
Neat and tidy, Ermias keeps things to the absolute essentials with “Back to the Bass”. Concise in nature the song has a great deal of energy while it gradually lets subtle nuances come into the mix.
Balanced to perfection is Boom’s “Pure”. Angular in nature the song builds and breaks down on a dime. Gigantic in scope the song expands and contracts with great fervor.
Taking a page from the contortions of Clark’s work on Warp Records is the cartoonish rush of M!nts “LFO”. Sounds layered on top of each result in an ornate presentation of color.
Simple at first, Derrick Anthony’s “Obama Goes to Cuba” builds and builds. The shuffle that starts the track becomes overwhelming. Becoming increasing woozy in nature the song veers from tempo to tempo, refusing to fully settle into anything expected.
Perry Engineering’s “House Music in London” dives deep into the classic house sound. The track rumbles forward as the slow yet steady build gives it a reverence for history.
“4” shows off S.G.B.’s undeniable energy. On here it is the small details that matter the most. S.G.B. explores the smallest elements for the greatest possible gain.
Ending things on a triumphant note is the aptly named “The End” by Addliss. Building up the piece bursts forth into an undeniably sweet bloom of color.
Posted by Beach Sloth