A hot slice of strong beats and topnotch production served up on a warm sound bed full of analog goodness which serves this music well, adding a subtle layer of grit to the sound that clarifies some of the rougher parts and scratches up some of the cleaner bits.
DEADTECH/MODERNHOMES by Tim Cosner is a hot slice of strong beats and topnotch production served up on a warm sound bed full of analog goodness which serves this music well, adding a subtle layer of grit to the sound that clarifies some of the rougher parts and scratches up some of the cleaner bits. The songs are short and sharp, making this one of the few releases I’ve heard recently that I wish was longer. Cosner displays a handy dexterity matching powerful beats against strong synth textures, loops and atmospherics.
“Scrapes Low” shows how the gritty analog tape sound lends itself to the tracks; off-kilter, detuned whining drones in the background over dark beats in a hip-hop vein with industrial sensibility. This is music with an unborn hostility to it that develops a growing sense of unease as it plays. “Rather Never” is unusual in its approach with a warm, compelling progression without any avant grade obscurity getting in the way. Vocals samples beat the air while a restrained rhythm propels it along. There’s just enough distortion to give this an edge without running over into the obscene or comical. “Real” is like the outgoing message of a Dalek’s voicemail with its rough synth grunge, harsh beat and background squeals and scrapes. Several atmospheres play against each other at once here in a nice mix of moods. Cosner’s created a nice balance of industrial, techno and hiphop sensibilities here. “Lude” and “Spells” are both short but good, in a way that makes you wish they were longer though not out of underdevelopment. Cabaret Voltaire style synth arpeggios skitter over simple, 80’s style beatbox sampled rhythms while looped drones give a pleasant sense of vertigo to the ears. “Canyons” features rhymes by Rinu RiImac. This showcases the sills of Cosner nicely.
It’s safe to say each song could have rhymes over them and be served well by a competent MC. Cosner himself raps a bit on “Feelers,” showing he’s as comfortable in front of a mic as he is in front of the machines he composes on. “Bender” reminds me of the early hip hop work of Ghislain Poirier when he was moving away from the darker ambient work he began with. “It Go Like” sounds like something Timbaland might dream of doing with its fat synth bass, screeching guitar and crashing beats underpinning a simple, bright synth arpeggio.
DEADTECH/MODERNHOMES is a breath of fresh air amongst so many releases full of stale beats, weak synth work and drab atmospheres. It is highly listenable and highly recommended.
DEADTECH/MODERNHOMES is available on Bonding Tapes.
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