Boomkat Product Review:
Hi-pressure club futurism from Japanese dubstep/grime survivor Prettybwoy. Assembled during a stressful stretch for the producer, 'Tayutau' is anxious, metallic and sweaty airlock nu-dance pressure, cooled off by swirling videogame synths and emotional vocals from collaborator lIlI.
Another rapid-fire dancefloor burner from Shanghai's unreasonably reliable SVBKVLT stable, 'Tayutau' makes a bridge to Japan, curving Prettybwoy's well-worn bass-fwd raw materials into a pneumatic neon club structure. He put these tracks together during a time of upheaval; a selection were made before pandemic, then more were added during lockdown, when Prettybwoy was forced into unemployment and lost tracks in a series of hard drive accidents. The chaos is reflected in the album's writhing, anxious mood, that dips from mind-throbbing intensity to lithe, poppy delirium.
Machine-gun bursts of overdriven kicks and burnt outcroppings of heaving synths form the backbone of tracks like 'Island', 'Brontides' and 'Mikoshi', while 'Genetic Dance II' and 'SLT' drag the weightless bounce of Rabit and Mumdance into breathy, floral East-Asian landscapes. Prettybwoy's confident engineering carries the tracks, and whether he's exploring the limits of granular ambience ('ó‹ (Tear)'), weightlessly melting piano and distant Japanese voices into bouncing subs ('Isol') or forming teeth-chattering grime-flecked nu-club ('Rat's Talk') there's the sense that each sound is sculpted by a master craftsman.
The result falls somewhere between Foodman's wiped-clean eccentric wonkiness and the damaged 'n deranged club philosophy of contemporary prophets like Hyph11E, Yen Tech and Lee Gamble.