Described as having grown out of a personal grieving process from a death in his family, Daniel Potter has channeled his energy into a rich, cinematic and thickly emotionally-infused 45-minute album of epic electronica, putting strong and well-arranged string ensemble work alongside heavy EDM sounds and some cutting-edge production. Guest vocalists on most tracks extend the variety of flavours even further.
Opener “Intro” is true action-thriller-film-score material, while “Syndrome” flirts with a sort of dark broken-beat pop structure around Charlie Stark’s vocal that has hints of Coldcut’s “Sound Mirrors” about it.
Victoria Shilling contributes vocals to “Live Life”, in some ways a more conventional and lighter piece that initially sounds like it’s going to be house-pop, before taking a twist into post-dubstep heavy subbass tones when things really kick in. Her second appearance on “Beautiful Day” is less deceptive, building to a genuinely beautiful breakdown of semi-operatic vocal and strings. “Quanto Tempo”, with Laura Lopes, has an equally idyllic and more laidback feel.
Fans of Kate Tempest- of whom there’s a growing number- will appreciate her appearance on “Kairos”, although some may find it just a little bit too much of a conventional bit of introspective grime that could maybe have had a few more surprises up its sleeve than it actually has.
With the vocal-less tracks, “Cronos” is an opportunity taken to move things a little deeper, while “Tuner” is a slightly more regular bit of ornate melodic-versus-complex drum-and-bass with shades of old jungle.
The sheer ambition of it is properly fantastic and it’s remarkable how high-budget this all sounds. A really exemplary production that could well be one of the album highlights of the year. Although attention will probably be drawn to the Kate Tempest track, it’s probably the weakest track here- the whole thing is worth checking out.