Since Black Dice released their last LP, 2012's Mr. Impossible, Eric Copeland, one third of the New York experimentalists, has released a series of solo albums that featured a more playful and rubbery feel than his band's brand of drone-based electronics. On his new LP, Copeland has re-dubbed his music 'goofstep' — hence the album's title, Goofballs.
Although much of this eight-track album leans heavily on straightforward polyrhythms and bushy, gooey melodies, Copeland is clearly still dedicated to delivering dense, unconventional dance music. Opener "Boogieman" revolves around a hauntingly slow chopped and screwed vocal sample, but tracks like "Neckbone," "Bibbidi Bobbidi Boo" and "Mixer Shredder" are built around some terrific and captivating bass lines that pull you into his hypnotic four-minute symphonies.
Copeland keeps things fresh (and odd) by ending off the album with a trio of songs — "Close Encounters," "Smearjob" and "Doo Whatcha Wah Wah" — that feature left-field vocals that come off surprisingly melodic and re-listenable. Although there's no real drop-dead, standout tracks across the short 35-minute LP, and Copeland plays it a bit safe on Goofballs, there's a real clarity and craft present on this bizarrely uncharacteristic album.
(DFA)Although much of this eight-track album leans heavily on straightforward polyrhythms and bushy, gooey melodies, Copeland is clearly still dedicated to delivering dense, unconventional dance music. Opener "Boogieman" revolves around a hauntingly slow chopped and screwed vocal sample, but tracks like "Neckbone," "Bibbidi Bobbidi Boo" and "Mixer Shredder" are built around some terrific and captivating bass lines that pull you into his hypnotic four-minute symphonies.
Copeland keeps things fresh (and odd) by ending off the album with a trio of songs — "Close Encounters," "Smearjob" and "Doo Whatcha Wah Wah" — that feature left-field vocals that come off surprisingly melodic and re-listenable. Although there's no real drop-dead, standout tracks across the short 35-minute LP, and Copeland plays it a bit safe on Goofballs, there's a real clarity and craft present on this bizarrely uncharacteristic album.