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Line 47 :: A-Side
What can be said here? Line 47 opens with an epic if not inspiring piece of classical electronics that blends elements of old-school Aphex Twin moments with current Digitonal sounding harmonies; “Quavoon Eyes” falls out of the sky with its classical, upbeat melodies all rolled up in a blanket of cumulonimbus clouds that unveils a sincerity unlike most of electronic musics easily consumed productions. “Idle Ruins,” the second cut by Line 47 is a
crispy Plaid-like piece that is tightly nit and pleasantly nurtured with piano touches and a skittery off-centered beat. “Vectoise Un Brks” closes Line 47’s experimental outing with Sonic Terror; on this disturbed breakcore/drill’n bass affair, we get to experience an entirely other side of Line 47. Comparisons don’t always do justice, but a touch of Mu-Ziq and Panacea are in total effect here. Taking a cross section between muddy drum’n bass and layered melodic spurts and spats, “Vectoise Un Brks” appears almost out of nowhere but somehow reveals it’s underlying meaning upon further listening.
Rusuden :: B-Side
There’s that area inside the beats where tranquility rides above a cool wave of magnetic rhythms. This is a place where Justin Morgan, a.k.a. Rusuden manages to rest his sound on this delicious peace of wax. Rendered hip-hop grooves slice and dice there way through highs and lows while punctual melodies weave in and out. A call to the likes of Gescom and Push Button Objects wouldn’t be too far off with Rusuden’s wicked “Swolnip” introduction. It isn’t until Rusuden’s second track, “Baloo is a Bear,” that you really begin to feel good. An oddly tuned synthetic whine forms the basis for this upbeat manifesto of percussive fragments, disjointed basslines and pure creativity. On “Penki-Ki” Rusuden let’s the monkey’s loose while chopped breaks mingle with fluid elements of times gone by. “Afterdinnermints” closes off Rusuden’s sound-escape with a funky, old-school mix of sharp melodies and subtle vocal spurts that casually moves into a techno-jingle and immediately ends without hesitation. Rusuden manages to cultivate a Skam-infested musical production of smooth and course rhythms that all unfolds easily on the brain, while tickling the feet. A complicated display of positive downtempo spheres of sound that needs to be absorbed to be fully appreciated.
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