Music Reviews

Artist: Conduct (@)
Title: Borderlands
Format: CD
Label: Blu Mar Ten Music (@)
Rated: *****
Even if Robin Andrews and Chris Edwards, the men behind the curtains of Conduct, don't actually wink at dance floors by catchy sonorities, you will easily realize why many well-known big names of drum'n'bass scene - including Noisia, London Elektricity, Reso or Doc Scott, to name a few of them) - keep on supporting their outputs after an attentive listening to their recent release on the appreciated imprint Blu Mar Ten. Their music tries to intertwine more or less fast-rolling patterns, which sometimes get closer to 170 bpm, and masterfully crafted harmonies or soundtrack-like melodies. "Borderlands" could be considered their very first album, but their skills in handling two symbiotic and seemingly contrasting entities in their sound could be more spontaneously feature more trained sound makers as you can easily guess since the opening tune "Meraki" - the title is maybe a reference to the well-known company founded by two former MIT PhD students -, where touching orchestral cinematic samples peacefully share the same nest with more aggressive percussive patterns. Their passion for soundtracks spurts on the following track "Archaic", where echoes of Western movies got evoked by an excellent guitar sound and drum patterns that seem to evoke the battle of two gunfighters while their bullets melts as a consequence of the red-hot temperature of a forgotten desert place, the place where this imaginary scene could occur, and this kind of reverie and sonic interferences occur here and there in many moments of the album, such the brilliant "Bat Country" - a track inspired by a scenic place in between Los Angeles and Las Vegas -. The grandiose appearance of a piano in "Piano Tunes", spiced by robotic hiccups and catchy mid-tempo, and the likewise emotional breaching of African scents over the hyper-real melancholic breezes of "Turmoil" precede the title-track "Borderlands", one of the highest moment of the whole album that is going to meet the tastes of the lovers of the most "scientific" side of drum'n'bass (Photek, Teebee). Tunes like "Faux", "Grand Panjadrum" or the bizarre hybrid between Vivaldi-like aria, alien vocals over smashing hits of kalimba and wooshing synths in "Beta's Error" as well as "Silkworm" - maybe the more predictable moment of the whole album - could resemble the very first steps of The Upbeats or Faun. Last but not least - even doubly important - the final track "Divergence", where the overlapping between natural and artificial sonorities, severe seriousness and light-heartedness, yin and yang, light and shade complete such a bipolar consecration.

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