Album: SBTRKT – SBTKRT
Anyone who has read this blog with any degree of regularity will know that I’m more than a bit of a fan of Will Wisenfeld aka Baths, and his 2010 album Cerulean. I still remember my first time giving the album a listen and waiting for the filler to arrive but each track proved breathtaking in its own way. Cerulean came out at a time when, thanks to the likes of Flying Lotus and Teebs, glitch-hop was at the forefront of electronic music but Wisenfeld managed to stand out from the masses with an original and engaging spin on the genre.
British producer Aaron Jerome who performs as SBTRKT (pronounced Subtract) has achieved the same feat with his stunning debut self-titled album. As contemporary electronic music continues to draw influence from all different directions the genre game grows more and more farcical with this album likely to be lumped into the post-dubstep category alongside the likes of James Blake and Mount Kimbie. Regardless of its genre, SBTRKT’ is a compelling LP which at various stages boasts a hint of house, funk, soul, dubstep, electronica and just about everything else.
Comparisons with James Blake are inevitable given Jerome’s use of heavy-bass loops fused with his soulful vocals, but SBTRKT offers an approach more akin to Blake’s earlier EP releases than his more subdued self-titled album. Tunes like Wildfire and Right Thing To Do are underground dance floor anthems while the mournful Hold On and funky gem Trials Of The Past display Jerome’s more introspective songwriting capabilities.
Just when you think you’ve got the album figured out pop tune ‘Pharoahs’ makes an appearance with a Dizzee Rascal-esque beat blended with sing along trance vocals calling to mind Katy B’s chart single ‘Lights On’, but better.
Will Wisenfeld was a relatively unknown 21-year old when he released Cerulean, one of the most compelling albums of the past decade. Aaron Jerome was equally anonymous prior to this debut release but you get the feeling he’ll be bringing his exotic headwear to more festivals on the back of what is already, unquestionably one of the albums of 2011.