Hopkins is peerless when he's on top of his game. He can pull emotion from the smallest fizzled perturbation, from the most subtle sweep of frequency. He operates at all scales at once like nobody else making music. He can work with knobbending loops and slowturning distortions, blending methods and level of focus seamlessly and at will. Singularity opens the album, seems to be his opus, and then Emerald Rush, goddamn. Pyramid Song meets Final Fantasy, Girl Talk gone ambient -- scale collapses, epoch catastrophe, washed away on a sea of microvocal waves.
Emerald Rush is the best electronic song of the last year, maybe the whole decade.
It makes me bob my head, and I feel every pinched nerve strike electricity in my should arm hand, and at least it feels like part of some grand design.
Neon Pattern Drum stutters itself out by its own bootstraps. Sexiness arising from the tar, Tasha Yar's death put to song in reverse.
--
The second side peters out, mostly lost to meandering ambiance. But man, this guy has the tools to make gold. Even when its a bit slow, every tone's homegrown, crafted, emphatically better than it has to be 4/5
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment