Italy’s Chevel comes heart-on-sleeve with a bout of emosh, melodramatic instrumentals for Rainy Miller’s Fixed Abode.
With an album for Logos/Mumdance’s Different Circles to his name, Chevel returns with a finer balance of the emo yin to his hard-nosed sound designer yang on ‘Waiting For Love’. As with the development of his sound over the past few years, he infuses the crisp angularities of his trap-styled drum programming with carefully puckered, emotive arrangements of detuned Reese bass and richly melodic arpeggios that lends to a more sensuously contoured sound.
While all instrumental, there’s a clear dramatic/narrative arc to proceedings, blooming forth heart-lifting arps and pads over beautifully stressed Reese bass surges akin to productions by Rainy Miller or Ayya in ‘Dawn’, while ‘Swamped Pt2’ balances harder trap drums pill-belly synths recalling 0PN, and ‘VHS’ calls to mind aspects of the The Sprawl harnessed in a drill chassis. His radiant, penultimate title cut acts as an real denouement of the story, and, with its sublimer closing sequence ‘One Thousand Flowers’ slots very sweetly into Fixed Abode’s elevating and expanding roster.
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Italy’s Chevel comes heart-on-sleeve with a bout of emosh, melodramatic instrumentals for Rainy Miller’s Fixed Abode.
With an album for Logos/Mumdance’s Different Circles to his name, Chevel returns with a finer balance of the emo yin to his hard-nosed sound designer yang on ‘Waiting For Love’. As with the development of his sound over the past few years, he infuses the crisp angularities of his trap-styled drum programming with carefully puckered, emotive arrangements of detuned Reese bass and richly melodic arpeggios that lends to a more sensuously contoured sound.
While all instrumental, there’s a clear dramatic/narrative arc to proceedings, blooming forth heart-lifting arps and pads over beautifully stressed Reese bass surges akin to productions by Rainy Miller or Ayya in ‘Dawn’, while ‘Swamped Pt2’ balances harder trap drums pill-belly synths recalling 0PN, and ‘VHS’ calls to mind aspects of the The Sprawl harnessed in a drill chassis. His radiant, penultimate title cut acts as an real denouement of the story, and, with its sublimer closing sequence ‘One Thousand Flowers’ slots very sweetly into Fixed Abode’s elevating and expanding roster.
Italy’s Chevel comes heart-on-sleeve with a bout of emosh, melodramatic instrumentals for Rainy Miller’s Fixed Abode.
With an album for Logos/Mumdance’s Different Circles to his name, Chevel returns with a finer balance of the emo yin to his hard-nosed sound designer yang on ‘Waiting For Love’. As with the development of his sound over the past few years, he infuses the crisp angularities of his trap-styled drum programming with carefully puckered, emotive arrangements of detuned Reese bass and richly melodic arpeggios that lends to a more sensuously contoured sound.
While all instrumental, there’s a clear dramatic/narrative arc to proceedings, blooming forth heart-lifting arps and pads over beautifully stressed Reese bass surges akin to productions by Rainy Miller or Ayya in ‘Dawn’, while ‘Swamped Pt2’ balances harder trap drums pill-belly synths recalling 0PN, and ‘VHS’ calls to mind aspects of the The Sprawl harnessed in a drill chassis. His radiant, penultimate title cut acts as an real denouement of the story, and, with its sublimer closing sequence ‘One Thousand Flowers’ slots very sweetly into Fixed Abode’s elevating and expanding roster.
Italy’s Chevel comes heart-on-sleeve with a bout of emosh, melodramatic instrumentals for Rainy Miller’s Fixed Abode.
With an album for Logos/Mumdance’s Different Circles to his name, Chevel returns with a finer balance of the emo yin to his hard-nosed sound designer yang on ‘Waiting For Love’. As with the development of his sound over the past few years, he infuses the crisp angularities of his trap-styled drum programming with carefully puckered, emotive arrangements of detuned Reese bass and richly melodic arpeggios that lends to a more sensuously contoured sound.
While all instrumental, there’s a clear dramatic/narrative arc to proceedings, blooming forth heart-lifting arps and pads over beautifully stressed Reese bass surges akin to productions by Rainy Miller or Ayya in ‘Dawn’, while ‘Swamped Pt2’ balances harder trap drums pill-belly synths recalling 0PN, and ‘VHS’ calls to mind aspects of the The Sprawl harnessed in a drill chassis. His radiant, penultimate title cut acts as an real denouement of the story, and, with its sublimer closing sequence ‘One Thousand Flowers’ slots very sweetly into Fixed Abode’s elevating and expanding roster.