Boomkat Product Review:
Kansas City's Iggy Romeu dissolves windswept Americana and doomed lounge-jazz into loping, textured psychedelia on his latest Soda Gong plate, following crucial deployments for West Mineral and Motion Ward.
On Romeu's last album 'Top Natural Drum', he sourced his material from Latine jazz records, grazing ambient music but steering closer to day zero beat scene experiments from Delarosa & Asora and Carlos Niño. 'Cold Clay from the Middle West' continues the journey, picking the flesh from "crackpot Americana" and skinning it over brittle, tilted rhythms and smoked-out lounge jazz loops. Opening epic 'Cold Clay Suite' is Romeu's most detailed construction, and his most ambitious. Over 13 minutes, he layers dusty guitar samples and adds wheezing beatbox sizzles that curve into wooly, pad-like stretches that land in amongst the tumbleweed before it sputters to a close.
The looming influence of trip-hop casts a shadow on 'Cooky' and 'Born to Lose', but both tracks fail to make it the focus. Instead, Romeu interrupts the momentum with faded, green-hued textures that pierce the netting of cozy jazz samples and saturated drums. He sounds more out on his own when he's operating further from the downtempo lounge, like on 'Song For Glob', a patient, Badalamenti-like melter that matches its smoove horns with a sparse, metallic throb, and on the skittering 'Have A Seat'. And there's a pause for breath with 'Daddy's Dirt', a hushed, intermingled sprawl of goopy acoustic instrumentation and bubbling synths. One for the early hours.