Bass acting as the main ingredient, warm blips and bleeps cascade across dense layers causing this visually stunning digipak to flicker amongst distant cousins such as Autechre (in their early years), +One and Funckarma.
[Release page] Melodic electro, subtle lyrical splashes, highly evolved rhythms and a penchant for decelerated high-hats, Love, Songs, and Alibis sits comfortably in chill-out rooms inching its way through the airwaves of a relaxed audience. Bauri’s The Slacker Journal (Neo Ouija, 2002), set out to decompress IDM bass bins with a similar groove that was both flowing and emotive just as Tropa (aka Brian Darden) ignites tangent strands of consciousness. The eight coasting pieces on display are underpinned with a laid-back gravity, this time for Los Angeles-based Outside Recordings.
Bass acting as the main ingredient, warm blips and bleeps cascade across dense layers causing this visually stunning digipak to flicker amongst distant cousins such as Autechre (in their early years), +One and Funckarma. These subterranean movements react with the subconscious in a way that sparks the senses in its simplicity of style. Tropa really is on to something here.
When imprints like DeFocus and Involve magnetized the Artificial Intelligence scene with new interpretations of electronica back in the early 00’s, they gave listeners a place to relax in fields soaked with poly-rhythms, softened beats and emotive pulses. This creative space is where Tropa rests his gear; filled to the brim with analog bubbles and digital trickery, Love, Songs, and Alibis is choke full of tranquil, dub-centric escapades waiting for your arrival.