Dinsync unquestionably has its roots in Roland’s synths, yet TARO sound closer to 2000s electronica than late 80s techno. It’s a record which nods its head toward the likes of Boards of Canada, Casino Versus Japan or Porn Sword Tobacco, than a nostalgic Kraftwerk trip.
Michal Malak wasn’t kidding when he put Roland in his project name, The Analog Roland Orchestra. Matlak, the individual behind TARO is a Roland enthusiast, co-author of book R is for Roland, the book covering key synthesizer’s in Roland’s colorful history during the 70s and 80s.
If you were feeling bold you’d guess that TARO’s production is old-school, full of subtle faults and homespun oversights that hint toward a DIY creation. You’d be wrong—as I was—as this is a very modern sounding production, with the Roland at the heart of its experience.
Dinsync unquestionably has its roots in Roland’s synths, yet TARO sound closer to 2000s electronica than late 80s techno. It’s a record which nods its head toward the likes of Boards of Canada, Casino Versus Japan or Porn Sword Tobacco, than a nostalgic Kraftwerk trip.
Matlak is in love with his old-school sounding machinery but his production is controlled and current day, giving Dinsync a huge sense of style and personality. Character is at the heart of Dinsync, the records formula being made up of colorful melody, minimalist percussion and gorgeously warm sounding synth work. It’s a style that works to great effect on tracks “Weird Vibrations” and “Burned Earth,” which sound vastly layered and bombastic.
It’s hard to fault the care and measure Matlak has brought to his debut album. This is a highly engaging and punchy production.
Dinsync is available on Pressure Suit.
