The emotional swells and transitions Byrd builds into his tracks sometimes lead to moments of pure transcendence, too, as on the album’s aptly-titled closer “Something That Pulls,” where a buzzing, churning bass tone fights, counters, and ultimately yields to a high, harp-like melody.
The announcement for Sean Byrd‘s new album Always Was immediately caught my eye when it hit the Igloo inbox. The label, Plastic Sound Supply out of Denver Colorado, suggested that the release was for fans of “DBridge, Scuba, and Tom Middleton,” all of whom I adore, and indeed, Byrd hits the notes suggested by those reference points while developing a style all his own.
There’s drum-n-bass here, as almost all the tracks center around slow-roller beats and deep low end rumbles, but it’s an atmospheric, spacious dn’b along the lines of the Autonomic / Exit Records style rather than either claustrophobic breakbeat pummeling or slowed-down wobble two-step. The percussion programming is top-notch: precise and complex, evolving through each track so it never feels mechanistic or repetitive. Track 4, “What To Say,” exemplifies this depth and complexity with several layers of micro-precise static spread across the soundfield. If the album has a fault it’s that it occasionally plays too gentle; there are moments like the gauzy midpoint of “Over Here” where the faux-symphonic synths threaten to overwhelm the track with saccharine swells. But for the most part the textures stay where they belong—back in the mix to provide depth, while the beats stay propulsive and captivating. The emotional swells and transitions Byrd builds into his tracks sometimes lead to moments of pure transcendence, too, as on the album’s aptly-titled closer “Something That Pulls,” where a buzzing, churning bass tone fights, counters, and ultimately yields to a high, harp-like melody. Gorgeous work, expertly executed.
Always Was is available on Plastic Sound Supply. Buy at Amazon.
[amazonmp3 asin=”B0076V0BSC”]
