The second offering from Montreal's Scott Monteith, aka Deadbeat, for the Scape imprint, "Something Borrowed, Something Blue"" is another sublime study of microscopic rhythm structures and dub variations from a man who cut his first album from the same cloth as that Pole used so well for his groundbreaking debut six years ago. Produced in homage to his recent marriage (hence the title), the album also contains an effortless romantic undertone that's built around simple piano notes, effervescent textures and an unusual percussive character (crickets chirping, space echoes fragmenting) that's in turn startling and humerous - a rare feat in the ever-serious world of electronic music. The epic "Head Over Heels" is quite possibly the most overtly romantic and groundbreaking piece on offer - a haunting elevation of strings and solitary piano lines counterpointing the delays and bass modulations of the dub scope with beautiful assymetry and feel for heart-stopping nuance. "Requiem", meanwhile, dusts off the bassline legacy of Sly and Robbie at their most devastating and goes for the dub jugular with utmost depth. In all, a worthy follow up to Deadbeat's excellent debut - further studies into the nether regions of dub and its fractured worlds of possibility. Lovely.
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The second offering from Montreal's Scott Monteith, aka Deadbeat, for the Scape imprint, "Something Borrowed, Something Blue"" is another sublime study of microscopic rhythm structures and dub variations from a man who cut his first album from the same cloth as that Pole used so well for his groundbreaking debut six years ago. Produced in homage to his recent marriage (hence the title), the album also contains an effortless romantic undertone that's built around simple piano notes, effervescent textures and an unusual percussive character (crickets chirping, space echoes fragmenting) that's in turn startling and humerous - a rare feat in the ever-serious world of electronic music. The epic "Head Over Heels" is quite possibly the most overtly romantic and groundbreaking piece on offer - a haunting elevation of strings and solitary piano lines counterpointing the delays and bass modulations of the dub scope with beautiful assymetry and feel for heart-stopping nuance. "Requiem", meanwhile, dusts off the bassline legacy of Sly and Robbie at their most devastating and goes for the dub jugular with utmost depth. In all, a worthy follow up to Deadbeat's excellent debut - further studies into the nether regions of dub and its fractured worlds of possibility. Lovely.
The second offering from Montreal's Scott Monteith, aka Deadbeat, for the Scape imprint, "Something Borrowed, Something Blue"" is another sublime study of microscopic rhythm structures and dub variations from a man who cut his first album from the same cloth as that Pole used so well for his groundbreaking debut six years ago. Produced in homage to his recent marriage (hence the title), the album also contains an effortless romantic undertone that's built around simple piano notes, effervescent textures and an unusual percussive character (crickets chirping, space echoes fragmenting) that's in turn startling and humerous - a rare feat in the ever-serious world of electronic music. The epic "Head Over Heels" is quite possibly the most overtly romantic and groundbreaking piece on offer - a haunting elevation of strings and solitary piano lines counterpointing the delays and bass modulations of the dub scope with beautiful assymetry and feel for heart-stopping nuance. "Requiem", meanwhile, dusts off the bassline legacy of Sly and Robbie at their most devastating and goes for the dub jugular with utmost depth. In all, a worthy follow up to Deadbeat's excellent debut - further studies into the nether regions of dub and its fractured worlds of possibility. Lovely.
The second offering from Montreal's Scott Monteith, aka Deadbeat, for the Scape imprint, "Something Borrowed, Something Blue"" is another sublime study of microscopic rhythm structures and dub variations from a man who cut his first album from the same cloth as that Pole used so well for his groundbreaking debut six years ago. Produced in homage to his recent marriage (hence the title), the album also contains an effortless romantic undertone that's built around simple piano notes, effervescent textures and an unusual percussive character (crickets chirping, space echoes fragmenting) that's in turn startling and humerous - a rare feat in the ever-serious world of electronic music. The epic "Head Over Heels" is quite possibly the most overtly romantic and groundbreaking piece on offer - a haunting elevation of strings and solitary piano lines counterpointing the delays and bass modulations of the dub scope with beautiful assymetry and feel for heart-stopping nuance. "Requiem", meanwhile, dusts off the bassline legacy of Sly and Robbie at their most devastating and goes for the dub jugular with utmost depth. In all, a worthy follow up to Deadbeat's excellent debut - further studies into the nether regions of dub and its fractured worlds of possibility. Lovely.