Wrecked Exotic
One of ‘00s minimalism’s most enduring artists, John Roberts pursues his mmml deep house and post-classical muses farther into experimental interzones on his first album since 2019
Part responsible for steering minimal house somewhere more intriguing by the end of the ‘00s, NYC’s John Roberts has remained inquisitive at the edges of styles in a manner comparable with scene peers such as Nico Jaar and Lawrence over the past decade. ‘Wrecked Exotic’ follows from Roberts’ 2019 album ’Can Thought Exist Without a Body’ with a calmly sparing new eight track collection that sees his forms appear more chiselled but also spaced-out, with only one cut resolving at what we could call anything house-related, in the loping pulses of ‘Crash’ toward the album’s end. The rest of the album elegantly messes with its forms in more oblique fashion, variously rendering DJ Sprinkles-alike deep house in the stumbling triplets and petal-fall keys of ‘Horse Hair’, and combing it into crooked beatdown on the title tune, with standout moments of reflective bliss in the Vlad Delay-esque ambient electro-dub of ‘Paravents’.
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One of ‘00s minimalism’s most enduring artists, John Roberts pursues his mmml deep house and post-classical muses farther into experimental interzones on his first album since 2019
Part responsible for steering minimal house somewhere more intriguing by the end of the ‘00s, NYC’s John Roberts has remained inquisitive at the edges of styles in a manner comparable with scene peers such as Nico Jaar and Lawrence over the past decade. ‘Wrecked Exotic’ follows from Roberts’ 2019 album ’Can Thought Exist Without a Body’ with a calmly sparing new eight track collection that sees his forms appear more chiselled but also spaced-out, with only one cut resolving at what we could call anything house-related, in the loping pulses of ‘Crash’ toward the album’s end. The rest of the album elegantly messes with its forms in more oblique fashion, variously rendering DJ Sprinkles-alike deep house in the stumbling triplets and petal-fall keys of ‘Horse Hair’, and combing it into crooked beatdown on the title tune, with standout moments of reflective bliss in the Vlad Delay-esque ambient electro-dub of ‘Paravents’.
One of ‘00s minimalism’s most enduring artists, John Roberts pursues his mmml deep house and post-classical muses farther into experimental interzones on his first album since 2019
Part responsible for steering minimal house somewhere more intriguing by the end of the ‘00s, NYC’s John Roberts has remained inquisitive at the edges of styles in a manner comparable with scene peers such as Nico Jaar and Lawrence over the past decade. ‘Wrecked Exotic’ follows from Roberts’ 2019 album ’Can Thought Exist Without a Body’ with a calmly sparing new eight track collection that sees his forms appear more chiselled but also spaced-out, with only one cut resolving at what we could call anything house-related, in the loping pulses of ‘Crash’ toward the album’s end. The rest of the album elegantly messes with its forms in more oblique fashion, variously rendering DJ Sprinkles-alike deep house in the stumbling triplets and petal-fall keys of ‘Horse Hair’, and combing it into crooked beatdown on the title tune, with standout moments of reflective bliss in the Vlad Delay-esque ambient electro-dub of ‘Paravents’.
One of ‘00s minimalism’s most enduring artists, John Roberts pursues his mmml deep house and post-classical muses farther into experimental interzones on his first album since 2019
Part responsible for steering minimal house somewhere more intriguing by the end of the ‘00s, NYC’s John Roberts has remained inquisitive at the edges of styles in a manner comparable with scene peers such as Nico Jaar and Lawrence over the past decade. ‘Wrecked Exotic’ follows from Roberts’ 2019 album ’Can Thought Exist Without a Body’ with a calmly sparing new eight track collection that sees his forms appear more chiselled but also spaced-out, with only one cut resolving at what we could call anything house-related, in the loping pulses of ‘Crash’ toward the album’s end. The rest of the album elegantly messes with its forms in more oblique fashion, variously rendering DJ Sprinkles-alike deep house in the stumbling triplets and petal-fall keys of ‘Horse Hair’, and combing it into crooked beatdown on the title tune, with standout moments of reflective bliss in the Vlad Delay-esque ambient electro-dub of ‘Paravents’.