The big bass drops and glitchy beats are by far and away the focal point of the release and these dominant features are intensified by the regular dips in tempo and the frequent inclusion of much lighter, mellow sounding instrumental sections.
[Release page] Andrew Hathaway, Matt Berryhill and Matt Flesher hail from Boulder, Colorado, and together they are creative electro outfit, Robotic Pirate Monkey (RPM for short). The insanely talented trio are a well-oiled machine; each member brings his own distinctive sound to the table and as a group they demonstrate wisdom well beyond their years. It is not often that you hear about a successful three-person DJ team but since their formation in early 2010, RPM have been tearing up dance floors all over the U.S. with their fresh and unique blend of dubstep, electro, funk, glitch, jazz and hip-hop. The group’s style has drawn comparisons to the ultra-versatile producer, and fellow Coloradan, Pretty Lights, and after a string of solid remixes and a handful of original material EPs, they have finally released their first full-length album. RPM could have easily put a price tag on Colors in Disguise but what with their embracement of the emerging free music model the 9 track release is available “for free like music is meant to be” from the band’s official website.
The album’s epic opener, “Hellavator,” is a perfect example of RPM’s originality, creativity and brilliant use of samples. The sweeping horns and intense violins are overwhelming as the track builds and builds towards a filthy bass-filled drop that strikes like a lightning bolt from heaven. The slower tempo really gives the song a fresh, unique vibe and the album’s diverse nature is displayed when the heavy, crunching bassline gives way to a smoother, jazzier section. This type of shift is a common feature of Colors in Disguise; RPM are great at combining mellow, laid-back dubstep with seriously hard-hitting electro. The next track, “Moon on the Man,” is simply out of control. It is a solid dubstep track with plenty of dirty wobbles and whomps while a deep, pulsating bass holds everything tightly together. The intro includes a sample from Terry Gilliam’s drug-soaked drama Fear and Loathing in Las Vegas, with Johnny Depp’s eerie vocals adding to the already trippy nature of the track before an insane drop brings with it a whole load of destructive, mind-blowing bass capable of ripping through the fabric of time and space. The upbeat “Party Animal” is up next and it is an extremely creative track that gives us more of an insight into RPM’s totally unique style and direction. After another impressive build-up, the Boulder trio unleash an outrageous collection of unique electro synths, brilliant guitar samples, distorted sirens and creepy animal noises while the mighty dubstep bass once again takes hold.
As the album nears its half-way point, RPM begin to demonstrate the full range of their broad musical spectrum. “More Noize” is a masterful combination of jazzy trumpet samples, mysterious female vocals, bone-chilling bass, deep wobbles, glitchy digital effects and a seriously ill beat. On the next track, “Front Range Feeling,” the boys decide to hold back on the bass as they produce a catchy, melodic electro jam that defies you to move in time with the music. While it would be extremely difficult to pick a stand-out track from the release, “Rio De Fuego” is certainly a strong contender. The highly dynamic track begins with some slick, old school jazz sounds and a nice sample taken from “Crazy on You” – a guitar-driven classic released by American rock band Heart in 1976. The popular riff is then chopped up and reconstructed as the track turns into a futuristic, high voltage, dubstep banger with more wobble than a seismic rumble. The calmer side of RPM emerges once more in the flawlessly funky “Song of the Sirens.” A remarkable display of immaculate production skills, the gorgeous composition includes a chilled sample of Fleetwood Mac’s “Rhiannon,” a silky smooth bassline and an amazing glitch beat – the whole thing flows like a twilight dream. The penultimate track, “Pantone Polygamy,” is another diverse and mesmerising piece of music. With the introduction of sick sub-bass, energetic synths and unique computerized sounds, the song’s initial relaxed, hip-hop vibe evolves into a glitch galore cocktail of groovy electro and rhythmic dubstep.
Colors in Disguise finishes with the awe-inspiring “We Have No One,” a beautiful track and a fitting end to this stunning album. Laced with 2-step garage undertones, the song floats back and forth between badass bass drops and tranquil, melodic breaks. From start to finish, “We Have No One” is a masterpiece and as it draws to a close you could be forgiven for feeling emotional. The album is so totally complete and fulfilled and boasts a unique style all of its own. The big bass drops and glitchy beats are by far and away the focal point of the release and these dominant features are intensified by the regular dips in tempo and the frequent inclusion of much lighter, mellow sounding instrumental sections. This diverse LP is as hard as it is smooth; the material is superior; the production quality is top-notch; and RPM are the electro outfit to watch out for in 2012.
Colors in Disguise is available at roboticpiratemonkey.com.
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