From bubbling synths to irresistible basslines, Teleportations makes every stop on its cosmic journey worth visiting.
Jamming through different galaxies
I‘ve been a fan for a few years of both The Comet Is Coming (via The Leaf Label and Impulse! Records) and the fine UK-based Castles In Space imprint. Both of these names dabble in a type of electronica I’m definitely a fan of: very atmospheric music that does not shy away from being progressive as well. Danalogue, the core member handling the electronics for The Comet Is Coming, has now released his very first solo album under, you guessed it, Castles In Space—can’t get much more appropriate for me, can it?
Teleportations is as groovy as it is conceptual. If you imagine yourself traveling through space and visiting different planets as the music plays, the experience will be greatly enhanced. The blend of futuristic synth-based pieces and robotic, sometimes unintelligible vocals calls back to a lot of ’80s space music and its hi-tech vision—though I’m sad to inform the ’80s that we still do not voyage through space; we tried our best. However, this record may help with that, because it’s an incredibly immersive LP despite its brevity.
The tracks mostly flow into one another as a continuous mix, though each remains distinct; all ten pieces offer something either new or something that shakes up the previous atmosphere. Take “Moebius Tryptich” as an example, my favorite cut on the record. It is irresistibly groovy, and the drums are absolutely fantastic, starting off with a rather simple groove that becomes more complex as the tune progresses. In comparison to the previous “Far Beyond the Sun,” the lead single for the album, it’s almost night and day, yet the brief silence between them makes them flow really well. The first three tracks, of which “Far Beyond the Sun” is the last, seamlessly succeed one another instead, so that short silence between tracks three and four really does make a difference.
The three-track opening sequence is also noteworthy, especially the intro, “It’s Awakening On the Planet,” featuring bubbling arpeggiated synths. It’s really colorful and fun, and it pulls me in from the get-go. The transition between “Mother of Mars” and “Far Beyond the Sun” is also one of my favorite moments on the album because the arpeggiated synth that accompanies the former to its end then becomes one of the lead motifs of the latter. It’s rather awesome.
Then follows the previously mentioned “Moebius Triptych,” a fantastic jam that I can’t get enough of. The bass on this tune may be my favorite part of the record; it’s so spectacularly groovy that I genuinely can’t stop playing it.
In a similar fashion, “Theta Wave Convergence” and “Onto the Next Dimension” also go for a more energetic approach—and I don’t think it’s a coincidence that both also happen to be favorites of mine. The former is possibly the most peculiar track on the record, as it’s almost suitable for a club. The beat is classic house music, alternating a kick and a clap, but there’s also a really fast arpeggiated synth lead and techno-inspired hi-hats that make this tune as hypnotic as it is energetic. It also helps that there’s a neat breakdown in the middle with four-on-the-floor kicks, after which the piece builds up again with some acid synths.
“Onto the Next Dimension” may be the fastest three minutes on the LP. A super-deep bass, clean percussion, and funk-inspired keyboard action make this the most fun cut. Though the whole album, both conceptually and musically, reminds me a lot of Flying Lotus, “Onto the Next Dimension” especially feels like something that could easily sneak onto “Cosmogramma” and no one would bat an eye. I hereby summon all Flying Lotus fans to check out this album, as I have no doubt they’d greatly appreciate it.
A melancholic yet hopeful finale ::
On the more atmospheric side of things, the futuristic vision of this LP shines even more. The closing “Earth Remembrance Day” sounds like a farewell to our home. After further review, it does not seem to be an actual holiday, which makes the whole record even cooler, almost as if our departure happened a long time ago and this piece serves as a proposed anthem to commemorate the event. The track is definitely fitting for that role. It is a melancholic yet hopeful finale, and for sure the most ’80s track of the bunch. It’s a great finisher, one that you could sneak into the final scene of a space film as some sort of goodbye.
“You Are On The Right Track” is a sweet, interlude-like piece that keeps the momentum going, yet again spearheaded by layers of arpeggiated synths that feel like they never stop ascending. “Out Of Phase” welcomes you to some other world with an alien voice, which I cannot comprehend, though I’m sure it’s not because the vocals are unintelligible, but rather because it is an actual alien speaking in its own tongue. It’s small touches like this that make this LP as cool as it is, even if some imagination may be required from the listener.
Teleportations is likely going to place as my number one “Coolest Record of the Year.” There’s such a wide variety of inspirations, from funk to space music, jazz drumming to lo-fi electronics, all fitting under such a neat space-travel experience. The concept ties all of this seemingly incompatible music together, making you imagine all sorts of different galaxies zooming by while occasionally letting you jam inside your spaceship. Music this dope does not come out every year, so Teleportations is a must-listen for fans of forward-thinking electronica.
Teleportations is available on Castles In Space. [Bandcamp]
