If you’re in the mood for good modern IDM, Feal has got plenty. More specifically, if you want to put on a record and be sure it offers something valuable from start to finish, Feal has also got plenty of that. If you want a good amount of variety, Feal is where you should be headed.
Everything is just crisp, clean, and sound
Among the many modern IDM records coming out in recent years, Feal can be sure of the fact that it’s certainly one of the more consistent of the bunch. Clean aesthetics, smooth production, and a good amount of variety contribute to this album’s appeal, but Farron also isn’t shy about incorporating some heftier pieces.
Usually, you could think of most modern IDM as a call back to the classics and, more notably, a lot of artists that got their name out via Warp are often cited as the ones whose influence can still be felt today, but that should discourage you from discrediting records like this, and this one specifically most certainly has its own techno flavor that gives it some extra thumps. Farron is no alien to techno obviously, and certainly isn’t a newcomer either, so it’s nice to feel some distinguishable touches in an album that one could simply overlook. There’s nothing excessively futuristic or incomprehensible either, like you may think of some of those classics, to go back to that discourse, but Farron isn’t just crafting bangers either, there’s a nice balance between the two.
The technicalities of production most certainly help the tunes, because even if the mixing and the mastering may not stand out as the magnum opus of engineering, everything is just crisp, clean, and sound. The kicks are especially pleasant throughout the whole LP, but obviously they shine most in the more aggressive cuts, like “InSeq;” synth work is also noteworthy, as on the other side of the spectrum, the more ambient leaning tracks also stand out thanks to how smooth they sound, giving off that well appreciated futuristic feel. The opening “Kistereo Love” is the best of the more atmospheric tracks, also lacking in percussion, making its synths really take the reins.
Of course, there are also tracks that do actually call back to some older styles of IDM, mainly latching onto some of the leftovers of electro and Detroit techno that a lot of classics seemed to drag with them still. It’s obviously not a case of inexperience here, if you may want to call it that for pioneers of the scene, rather it is very much purposeful, likely to in fact suggest what the approach behind the record is. “CK Shy” sticks out in this vein, not solely because it’s incredibly catchy with its really upbeat staccato motif, but also because it really captures that rough feel of old IDM tunes, the one that you could hope to find in some B12 record or the ultimate IDM bible that is Selected Ambient Works 85-92. Even “InSeq,” which I just mentioned as belonging to the bangers category, drags some old school attributes, like the very 80s sounding synthesizers and those claps that sound beyond plasticky; those may sound like insults, but for old folks it may as well be “charm”—and put me in that category too, though not because of my age.
Later in the record, Farron also experiments a bit with some crispy breaks, and man does he do well in this department. The three track run of “Permanent Smile,” “14.22” and “Kezar” is the best trio this album has to offer, as all of these cuts are incredibly well crafted. The absolute winner is “14.22,” which has such a fantastic balance between its atmospheric components, its low end and the energetic breaks on top; it’s hard for me to decide whether I appreciate this more as a semi-banger or as a great blend of various styles, but one thing I’m certain of is just how great the track’s lead melody is, being so light and colorful, it’s just the right lead to have to make a piece like this feel truly complete.
“Permanent Smile” is instead the winner of best bass of the album, making its first two minutes and its last leg great dives into some of the least groove oriented parts of the record, which I’ve already said I also find to be very much enjoyable. “Kezar” happens to be more similar to “14.22” instead, and it’s also not far behind in quality, with its standout bassline.
Only the last leg of this LP can feel a bit unpolished, as the last three tracks seem to be a bit more repetitive than the rest, which isn’t a bad thing on its own, but does make them feel less intricate and imaginative than what precedes them. Still, none are to be thrown away, even if they do soften the album’s final moments.
Anyhow, if you’re in the mood for good modern IDM, Feal has got plenty. More specifically, if you want to put on a record and be sure it offers something valuable from start to finish, Feal has also got plenty of that. If you want a good amount of variety, Feal is where you should be headed.
You may not get your socks blown off, but you will surely appreciate how well executed this LP is, as I can’t quite pin down how many other recent competitors happen to be this consistent.
Feal is available on Shaw Cuts. [Bandcamp]
