I’ll be honest: I’m not even sure what this music is or where it fits into the musical landscape. But that’s where the best music, and indeed the best music to write about, is found. If the music itself doesn’t fall back on overused musical tropes and sonic cliches, then neither can I.
Okay, it is music driving on a futuristic clubland beat, a digital landscape carved out of synth washes and beguiling and hypnotic electronica, ebbs and flows of grooves and moves, all working in unison to keep the energy high, even euphoric.
But even if tracks such as Tight Flight feel like the natural evolution of clubland culture and Life In A Nutshell is that culture being turned into an anagram of itself and then put through a blender, washed out with acid and fed backwards into a computer so an AI program can reinvent it, there are some unexpected moments.
Moments like Sinking, a drifting, dreamlike soundtrack that wouldn’t feel out of place on Vangelis’ classic soundtrack to the original Blade Runner. And by the time you get to Mind Bending Olives, a chill room, Latin dance groover with a kazoo solo, you realise that it is time to put the pen down, time to stop trying to describe, explain, or even understand what is going on here and tell people to buy the album and draw their own conclusions. The only reason that I didn’t suggest you do this in the first place is that it would put me out of a job, but some music just doesn’t fit into words.
Writing about music sometimes really is as pointless as dancing about architecture. Huh!