Good Music Mixtape Vol. 2
Second volume of dislocated bass inquiries from NYC soundsystem scientist J. Albert. Fractal shit fer anyone into MoMa Ready, Actress, 96 Back, or Color Plus.
More proof that NYC is still deep (deep) inside its period of techno renaissance, J. Albert's second "Good Music Mixtape" drop is an expectedly cross-genre knuckle crack of engineering skill and well-honed feet-on-floor rave experience. His productions are reliably experimental, veering from jungle expressionism into splattered ambient-informed abstraction, but never losing momentum and never drifting into self-satisfied trickery.
With a factory-strength corrosive bassline and a beat that constantly threatens to 2-step, 'heavy blanket' is dance music observed thru frosted glass, obscured by DSP-managed interference that sounds like a detuned radio piped into a lead box; 'home screen' is a bubbly post-Actress scrapper, firing jerked technoid beats into bitcrushed oscillations; even more impressively, 'three' fires up a soup of low-passed dub tech and sputtering Pusher'd jazz funque.
But Albert is most confident when he's throwing a sidewards glance to the dancers: 'lemon seltzer' stands out with broken-off garage steppers and barely-present, ghosted accompaniments, and 'cold water' prolongs the thought, dousing bone-cracking rhythms in moistened foley samples and decomposed jazz hums. One of the nu-NYC scene's core strengths is its ability to grab elements from the last few decades of rave culture and recompose them into rugged, backbone-snapping foot-fodder. Great stuff.
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Second volume of dislocated bass inquiries from NYC soundsystem scientist J. Albert. Fractal shit fer anyone into MoMa Ready, Actress, 96 Back, or Color Plus.
More proof that NYC is still deep (deep) inside its period of techno renaissance, J. Albert's second "Good Music Mixtape" drop is an expectedly cross-genre knuckle crack of engineering skill and well-honed feet-on-floor rave experience. His productions are reliably experimental, veering from jungle expressionism into splattered ambient-informed abstraction, but never losing momentum and never drifting into self-satisfied trickery.
With a factory-strength corrosive bassline and a beat that constantly threatens to 2-step, 'heavy blanket' is dance music observed thru frosted glass, obscured by DSP-managed interference that sounds like a detuned radio piped into a lead box; 'home screen' is a bubbly post-Actress scrapper, firing jerked technoid beats into bitcrushed oscillations; even more impressively, 'three' fires up a soup of low-passed dub tech and sputtering Pusher'd jazz funque.
But Albert is most confident when he's throwing a sidewards glance to the dancers: 'lemon seltzer' stands out with broken-off garage steppers and barely-present, ghosted accompaniments, and 'cold water' prolongs the thought, dousing bone-cracking rhythms in moistened foley samples and decomposed jazz hums. One of the nu-NYC scene's core strengths is its ability to grab elements from the last few decades of rave culture and recompose them into rugged, backbone-snapping foot-fodder. Great stuff.
Second volume of dislocated bass inquiries from NYC soundsystem scientist J. Albert. Fractal shit fer anyone into MoMa Ready, Actress, 96 Back, or Color Plus.
More proof that NYC is still deep (deep) inside its period of techno renaissance, J. Albert's second "Good Music Mixtape" drop is an expectedly cross-genre knuckle crack of engineering skill and well-honed feet-on-floor rave experience. His productions are reliably experimental, veering from jungle expressionism into splattered ambient-informed abstraction, but never losing momentum and never drifting into self-satisfied trickery.
With a factory-strength corrosive bassline and a beat that constantly threatens to 2-step, 'heavy blanket' is dance music observed thru frosted glass, obscured by DSP-managed interference that sounds like a detuned radio piped into a lead box; 'home screen' is a bubbly post-Actress scrapper, firing jerked technoid beats into bitcrushed oscillations; even more impressively, 'three' fires up a soup of low-passed dub tech and sputtering Pusher'd jazz funque.
But Albert is most confident when he's throwing a sidewards glance to the dancers: 'lemon seltzer' stands out with broken-off garage steppers and barely-present, ghosted accompaniments, and 'cold water' prolongs the thought, dousing bone-cracking rhythms in moistened foley samples and decomposed jazz hums. One of the nu-NYC scene's core strengths is its ability to grab elements from the last few decades of rave culture and recompose them into rugged, backbone-snapping foot-fodder. Great stuff.
Second volume of dislocated bass inquiries from NYC soundsystem scientist J. Albert. Fractal shit fer anyone into MoMa Ready, Actress, 96 Back, or Color Plus.
More proof that NYC is still deep (deep) inside its period of techno renaissance, J. Albert's second "Good Music Mixtape" drop is an expectedly cross-genre knuckle crack of engineering skill and well-honed feet-on-floor rave experience. His productions are reliably experimental, veering from jungle expressionism into splattered ambient-informed abstraction, but never losing momentum and never drifting into self-satisfied trickery.
With a factory-strength corrosive bassline and a beat that constantly threatens to 2-step, 'heavy blanket' is dance music observed thru frosted glass, obscured by DSP-managed interference that sounds like a detuned radio piped into a lead box; 'home screen' is a bubbly post-Actress scrapper, firing jerked technoid beats into bitcrushed oscillations; even more impressively, 'three' fires up a soup of low-passed dub tech and sputtering Pusher'd jazz funque.
But Albert is most confident when he's throwing a sidewards glance to the dancers: 'lemon seltzer' stands out with broken-off garage steppers and barely-present, ghosted accompaniments, and 'cold water' prolongs the thought, dousing bone-cracking rhythms in moistened foley samples and decomposed jazz hums. One of the nu-NYC scene's core strengths is its ability to grab elements from the last few decades of rave culture and recompose them into rugged, backbone-snapping foot-fodder. Great stuff.