Oh his third release as Egyptrixx — the first on his newly launched record label Halocline Trance — Toronto producer David Psutka has made a collection of tracks that, while momentarily claustrophobic, manage to elicit the cavernous depths of nightclubs and after-hours.
At times soft, at others cacophonic, Transfer of Energy [Feelings of Power] is no easy listen, filled with foreboding terror and ominous industrial effects. Mid-album cut "Body II Body," featuring vocals from Modern Superstition's Nyssa Rosaleen, is an apt representation of the duality inherent in Transfer of Energy [Feelings of Power]: bookended by the pitter-patter of rain, the track opens with Rosaleen's chanting backed by doom-tinged disparate drum patterns, only to then switch gears halfway through, as a pulsating beat takes over. Album closer "Conduit [Repo]" synthesizes these elements into nine minutes of pure aural exploration, flipping the structure of "Body II Body" and ending on a soft, almost melodic note.
The album accomplishes what Psutka set out to do, which was to convey the dichotomy of club music through a minimalist and deconstructionist lens, and it does so unapologetically and with considerable confidence.
(Halocline Trance)At times soft, at others cacophonic, Transfer of Energy [Feelings of Power] is no easy listen, filled with foreboding terror and ominous industrial effects. Mid-album cut "Body II Body," featuring vocals from Modern Superstition's Nyssa Rosaleen, is an apt representation of the duality inherent in Transfer of Energy [Feelings of Power]: bookended by the pitter-patter of rain, the track opens with Rosaleen's chanting backed by doom-tinged disparate drum patterns, only to then switch gears halfway through, as a pulsating beat takes over. Album closer "Conduit [Repo]" synthesizes these elements into nine minutes of pure aural exploration, flipping the structure of "Body II Body" and ending on a soft, almost melodic note.
The album accomplishes what Psutka set out to do, which was to convey the dichotomy of club music through a minimalist and deconstructionist lens, and it does so unapologetically and with considerable confidence.
