Moosebumps

A 6 track downtempo ep (21m 41s) — released February 25th 2013 on Infinite Machine

On "Moosebumps", we find two producers at the top of their game taking an unprecendented and unforeseen left turn, in pitch-perfect unison.

Muscovite Alexey Devyanin, having attained world renown as Pixelord via his "Fish Touch" EP (on the seminal wonky stable Error Broadcast), further consolidated this firm signature sound with the subsequent "Puzzles" and "Keramika" EPs. On "Moosebumps", however, he delves into territories only previously hinted at (on tracks such as "Equis"). Doing away with the bleeps, the beatsmith aesthetic, and the bombastic nature of his previous efforts, he crafts three works of restrained, focused beauty and diaphanous-yet-meaty sonics. "I Don't Need This", seemingly titled via its concept itself, has Alexey employing a bare minimum, and connecting the dots in straight lines. Every single sound on this track is alternately spotlighted, in dreamy, relaxed succession. "I'll Be There" marries Casio-like-beats, with balearic undertones, with Moby-esque vocal cuts, creating a definitive, yet innovative nod to the 90s. "Shining Inside" is a subtly-oriental, atmospheric and expedient take on future garage, punctuated by rare and effective sub-bass throbs. Production-wise, comparisons can be drawn to post-dubstep alumni such as Blake, Jamie xx, or Airhead, but in terms of songwriting, this is unmistakably Pixelord, allowing Infinite Machine the honor of proudly showcasing what is arguably his most mature work to date.

Dane Jakob Einar la Cour, better known as Zack Christ, started things off on the right foot, debuting on Moodgadget in 2011 with his "Lucky Pork/Far East Side" EP, which included the standout achievement in the realm of jazz-tinged found-sound beats, "Synthetik Maztermind". What followed was a rapid-fire of remix work, and several impeccable one-offs via Origami Sound. On "Moosebumps", he flexes his sound-design muscles like never before, delivering his parallel to what was "Turning Dragon" in Clark's discography. On both "Tungo" and "Sumpa Titi Buto", arabesque collages of bonecrunching rhythm evolve and deconstruct before exploding into full-frequency crushing bass workouts, evoking the imagery of a full-on rave from 2172. A similar structure is employed on the split EP closer, his remix of Pixelord's opening track (note the symmetry). However, the climax is playful, hopeful and uplifting, while retaining Zack's penchant for strength... leaving listeners with an appropiate afterglow in its wake, and somewhat-atypical goosebumps. Atypical enough to be deserving of a new name.

Moosebumps maybe?

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