(02.04.07) Electronica is as widespread a sound nowadays as rock or indie. Some try to
merge elements of the acoustic and electronic together, be it physically or
simply through the sound. One artist who attempts to create this mingling of
sound is Drone, an artist on the My Kung Fu imprint. Drone has just released
his first full length album: Colourformoney.
Drone’s name is reflective of his sound. Echoing of melodies, reverberation
of harmonies and cyclical beats are the basis of his compositions. The album
opens with “Waterlillies,” a lulling track that gets the album off to a slow
start. Yet, Drone picks up the tempo on the next work, “Bellydance.” An
upbeat track of sharp drum and bass style beats with a solid melody and some
wicked distortion, a work that brings to mind some of Squarepusher’s earlier
material. The track submerges into chaotic beats and computer glitch before
fading out and letting “Hopscotch” come in. The first three tracks of
Colourformoney illustrate the diversity that Drone has. The last of the
trio is a warm, computer music track of crisp beats and autumnal synth
lines.
The album takes a turn in the wrong direction with the disinteresting and
distracting lyrical “Spiderhead (Green Man).” The album picks up again with
the delicate, piano based “Ninny.” This track is the other side of
“Hopscoth,” opting for much more organic tones to create a lush, fragile
soundscape of keys, shuffles and samples. Acoustics once more return with
“Telephone.” The track is an amalgamation of organic tones with electronic
sound, as artificial waves attack light strings. Vocals slide in, adding a
bit too much of a pop element to the track. Nevertheless, an interesting
enough piece. Guitars are once again the centrepiece with “Cutting Teeth,”
as are vocals. Here the lyrics work better than its predecessor, yet Drone’s
acoustic outings seem to lack something that his electronic musings have.
The strings are disintegrated into aggro electronic glitch in the next
track, “Etherheart.” A barrage of distorted machine noise intrudes before
light chords and monologue vocals slide in. A warm, fresh track with a
poetic element to it. More warm electronic tones follow with “Vintage Part
I.” Drone insists with his vocals, but here they are warped out through
programs and hardware. Another fresh number, with hints of the acoustic in
its end. Drone comes back from this Spring time affair with one of the
darker tracks on the album, “Vintage Part II.” Deep chords introduce the
piece as sharp beats that reach an audio blitz cut through the listener,
before subsiding under the weight of the undercurrents. Amazing track. The
album ends with the lengthy “Plink Plink Plink”, which is broken up and
mixed. The track itself in over 16 minutes long, but is splintered into
three segments. The focal elements are represented in the track, acoustics,
electronics and vocals (in that order.) The track is emblematic of what the
album is, a little disconnected.
Colourformoney is Drone’s first album. The record has good and bad points,
the former outweighing the latter. Drone’s electronic outings are clever and
even inspired in some instances. His digital sound is warm, subtle,
sometimes abrasive and overall well produced. His acoustic excursions are
well done too, but are overshadowed by the synth play of the album. The
vocal efforts do not wash as well. Sometimes Drone’s lyrics work, other
times they do not. Yet, the album’s lows do not surpass its highs.
Colourformoney is an intriguing, if not always expertly executed, project
involving traditional sound, new electronic notes and the human voice; it is
an album of merit and courage and demonstrates future potential.
Colourformoney is out now on My Kung Fu.
