On his second album, Unbalance, 2562 continues to fuse genres and theories about rhythmic persuasion. Less atmospheric than his highly acclaimed avant-dub-step debut, this new disc further showcases 2562's unerring sense of swing. Though he denies any intentional influences from African music, that's what I keep hearing in this music, which provokes loose-limbed dancing rather than body rocking. "Like A Dream" is a case in point. Starting with a jazzy yet totally synthetic bass line and melancholy keys straight out of late '80s house, he forgoes four-to-the-floor kicks (as he does throughout the album) and instead creates a slower kind of kuduro beat ― hypnotizing. Even slow tracks like "Flashback" seem to bridge hip-hop and dub-step while adding a few new rhythmic kinks. There are other moments where you just don't know what he's getting at until it all thrillingly falls into place, as with the title track. His beats don't need to overwhelm the listener with brute strength; the subtle authority of his sounds makes its point without tiring out the ears. This disc should be found in the record bags of DJs of all stripes: from techno to dubstep, and even dancehall.
Are you still classified as a "dub-step" artist? How do you feel about that?
I don't know if I am, others do that. Generally, I don't care about what people call it, because the music stays the same; it is what it is. Then again, classifications will always lead to certain expectations and influence how people listen to music, which can work against you as well. As much as dub-step inspired me a couple of years ago, I'm going my own way. It's music; it's not made for a particular scene, movement or genre. Anything from house to techno to broken beat to bass music and whatnot, old and brand new, all thrown into the mix, that's what I like best.
Would you call this album "dance music"?
Yes. I didn't make any of the tracks on it with the dance floor in mind; they first and foremost had to work in the context of the album. But still in almost everything I do there's a strong focus on rhythm, funk, swing, whatever you call it. I can't seem to do without it. More than half of the album tracks I've played in my DJ sets and a sound system is still the best place to hear and feel this music.
(Tectonic)Are you still classified as a "dub-step" artist? How do you feel about that?
I don't know if I am, others do that. Generally, I don't care about what people call it, because the music stays the same; it is what it is. Then again, classifications will always lead to certain expectations and influence how people listen to music, which can work against you as well. As much as dub-step inspired me a couple of years ago, I'm going my own way. It's music; it's not made for a particular scene, movement or genre. Anything from house to techno to broken beat to bass music and whatnot, old and brand new, all thrown into the mix, that's what I like best.
Would you call this album "dance music"?
Yes. I didn't make any of the tracks on it with the dance floor in mind; they first and foremost had to work in the context of the album. But still in almost everything I do there's a strong focus on rhythm, funk, swing, whatever you call it. I can't seem to do without it. More than half of the album tracks I've played in my DJ sets and a sound system is still the best place to hear and feel this music.
