On his new LP, Our Spaces, London based producer Guy Andrews embarks on a refocusing of his personal electronic style, eschewing the regular tempos and structures of his part work to focus on the ambient.
The album, two years in the works, demonstrates Andrews is occupying a completely new headspace these day, and his attention to detail is highly evident, beginning with the excitement-building "Higher Waters," on which Andrews introduces the relentless drumming that provides a key part of the album's overall success. "Bereft of Focus, Bereft of Will" is exciting and dynamic as it dips from slow-building drones to clashing percussive drops and keyboard interludes. The drumming is impressive, and gives the electronic LP a central, human element that provides its fury-focused method.
Our Spaces is expansive and linear, defined by synth and percussion pairings that weave around each other in a smooth, cohesive manner. Nothing about the album seems misplaced, even the more jarring dance moments, as on "Without Names," sound strangely natural. "Nøkken's Song" provides a frantic effect while staying oddly muffled, as build-ups hint at a climax but avoid it at the last minute. "Perception" plays with the listener, as the artist creates soft electronic layers that fizzle in and out, disappearing finally like static to create a breathtakingly pretty track. Finally, aptly named closer "Terminus" leaves an air of mystery with guitar spots and more of the muffled crescendos that have helped to define the entire LP. Andrews has succeeded in making each of his 12 songs crucial to the life of the album and its fluidity, demonstrating his incredible attention to detail and knack for eliciting emotion from his music.
(Houndstooth)The album, two years in the works, demonstrates Andrews is occupying a completely new headspace these day, and his attention to detail is highly evident, beginning with the excitement-building "Higher Waters," on which Andrews introduces the relentless drumming that provides a key part of the album's overall success. "Bereft of Focus, Bereft of Will" is exciting and dynamic as it dips from slow-building drones to clashing percussive drops and keyboard interludes. The drumming is impressive, and gives the electronic LP a central, human element that provides its fury-focused method.
Our Spaces is expansive and linear, defined by synth and percussion pairings that weave around each other in a smooth, cohesive manner. Nothing about the album seems misplaced, even the more jarring dance moments, as on "Without Names," sound strangely natural. "Nøkken's Song" provides a frantic effect while staying oddly muffled, as build-ups hint at a climax but avoid it at the last minute. "Perception" plays with the listener, as the artist creates soft electronic layers that fizzle in and out, disappearing finally like static to create a breathtakingly pretty track. Finally, aptly named closer "Terminus" leaves an air of mystery with guitar spots and more of the muffled crescendos that have helped to define the entire LP. Andrews has succeeded in making each of his 12 songs crucial to the life of the album and its fluidity, demonstrating his incredible attention to detail and knack for eliciting emotion from his music.