Immediate download of 11-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.
Design by Janko Dragovic
Includes immediate download of 11-track album in your choice of high-quality MP3, FLAC, or just about any other format you could possibly desire.
ships out within 3 days
edition of 50
Ylem is a Perth based producer carefully blending synthetic and organic sounds into compositions that reveal his taste for the various emerging "future beat" scenes. In a world where almost anyone that has a computer can partake in these ever evolving genres, his music stands out from the masses. Where many are simply content to sit within the confines of what makes a tune dubstep, hiphop, triphop or whatever, Ylem's music is intricately designed and thoughtful. Incredibly focused, yet progressive.
On his new album "Disk.151." this thoughtfulness and careful design is reflected from the very beginning, with the appropriately titled "Submerge." A solitary synth loop is built upon with lurching kicks, only to be smothered in wave after wave of tone and atmosphere, with drum patterns that seem to drip from the speakers. Here your descent begins.
However, perhaps those drum sounds actually are drips. "Disk.151." is named after a document relating to original Hollywood sound FX pioneer Jack Foley, and like Foley, Ylem has been collecting field sounds and recordings, which are incorporated into every track on the album.
The track "Slew" (which happens to be winner of the West Australian Music Industry award for Electronic Song of the Year), begins with a field recording that could be interpreted in many ways, but somehow establishes a feeling of nostalgia which is then echoed in the sighing vocal samples utilised throughout. It's unclear if this was Ylem's intention, but one of the beautiful things about this album is that it does provoke emotion and contemplation in the listener, and will likely effect every listener differently.
The following track "Sweat,", features heaving, writhing synths and the kind of beat that let it easily make the leap from headphones to club speakers, and back again. "Roadie," and "Red Herring" continue the intelligent dancefloor vibe, while "Something for the Pain" somehow evokes both sci-fi and summer at the same time. "Global Village" is the album's closer, and it's joyful vocal snippets, chaotic stuttering melodies, and lush sweeping synths seemingly imply a spontaneous celebration of the preceding journey.
Words by Nick Sweepah
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