Scenic: The Ones

The outcome of more Twitter prowling - it is a great pleasure to feature the debut composition by Scenic, a DJ and progressive electro artist from Los Angeles. 'The Ones' as the artist notes from their various Twitter updates (@iamscenic) that this is their first original release which, when one considers the accomplished compositional and production talent which is clear on this track, seems remarkable. The polish seen throughout this track is clearly the result of many hours' work and a wealth of experience within the field.

Scenic - The Ones (Original Mix) by scenic

Taking into account the stylistic origins of this track which lie within progressive electro/house aesthetics and the artist's work as a DJ, the inclusion of an extended introduction is not unexpected. Given that this is not an edited version of the track, it seems only fitting. The craft seen in the construction of the introduction is worth note, given that a large number of Scenic's contemporaries often neglect this section, much to the detriment of their own work. The inclusion of a recurring melodic melodic idea which transitions from the background throughout this section gives clear shape and avoids the cliche of using a solitary looped drum pattern to constitute an introduction.

This track runs at over ten minutes, with enough material to possibly even construct a short EP from. This inevitably creates an interesting musical structure throughout which Scenic weaves musical references to the thematic material of previous sections. The writing is typified with the use of thick synthetic instrumentation reminiscent of Deadmau5 and other House music writing. The whole structure plays upon two clear soundworlds which later reconcile, those being the clear House/Electro sections seen at the beginning and the softer excerpts which borrow stylistically from trance music such as the fall at 2:02 ("We are...").

Scenic during a 2010 DJ performance

Following the build up led by the vocoded vocal samples enters a very professional patchwork of material forming a further section which is reminiscent of both Daft Punk and Pendulum, a highlight of the track. This is echoed later having created and resolved various [musical] structural tensions, drawing attention to the calculated approach to instrumentation which varies throughout to add interest. At this point it is worth noting the commendable regard for mixing seen throughout this track, a credit to Scenic as a producer.

 From its conception, The Sonic Music Review has always been intended to act as an outlet where original works by upcoming artists can feature and get the recognition they deserve. It is a great pleasure to feature today a remarkable first original work by Scenic and we wish the artist the greatest of success.

If you represent an electronic music act and would like to submit your music, please get in touch here or find us on Twitter @SubsonicWinter.

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Deadmau5: For Lack Of A Better Name

Joel Zimmerman, better known by his stage name Deadmau5, began his musical career in 2005 with the release of his debut album 'Get Scraped.' Since, he has released four further studio albums, with 'For Lack Of A Better Name' being the fourth studio Deadmau5 album, released in 2009.

Deadmau5: For Lack Of A Better Name

The album begins with 'FML,' which features possibly the most furious and incessant minute of snare drum playing ever to occur outside of rock music. This is soon relegated as house-style synths dominate, eventually subsiding to the famed funeral march at the beginning of 'Moar Ghosts 'n' Stuff,' an instrumental version of 'Ghosts 'n' Stuff,' which follows as a separate track. Given that no large passages of vocal material enter until the third track, Deadmau5 shows great skill in creating such interesting house arrangements from largely synthesisers.

The fourth track, 'Hi Friend!,' which features MC Flipside, also released as the first single of the album, shows a greater influence from electro music. This electro style continues into 'Bot,' which combines lowfi drums and additional elements which make it reminiscent to Daft Punk's output, in particular their soundtrack to 'Tron: Legacy,' reviewed here.

Among the later tracks in the album are the title track 'Lack Of A Better Name,' as well as the audibly trance influenced '16th Hour' and 'Strobe,' both over ten minutes long. This album illustrates clearly Deadmau5's versatility as an artist and its critical acclaim is by no means surprising. 

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Pendulum: Immersion

Aussie band Pendulum have celebrated great success from their first two albums. Their third album, the 2010 release 'Immersion' sees further refinement to their style. Unsurprisingly, the album went to the #1 spot on the UK charts in its first week of release

Pendulum: Immersion

The album begins with the feaux-orchestral work 'Genesis' which quickly becomes embellished with modulated synth tones. This moves swiftly into the next track, 'Salt In the Wounds,' an instrumental track which builds a sense of pace in preparation for the first track in the album to feature vocals, 'Watercolour.' This track, also released as the first single of the album, combines a singer songwriter style of writing with Pendulum's predominant drum and bass writing. Structurally, the piece employs largely a verse/chorus interaction but the use of a pre-verse section approximately 3:30 in to the track gives light relief from the frantic beats which underpin the track.

The album contains several noteworthy tracks but 'The Island, Pt. I (Dawn)' and 'The Island, Pt. 2 (Dusk)' are arguably the most recognisable tracks from the album. Part 1 presents a somewhat mysterious atmosphere, while part 2 is almost exclusively synth-led in a much harsher dub style.

Of the remaining tracks, 'Witchcraft' too deserves a mention. Again, Pendulum exhibit more a  more traditional songwriting within the context of aggressive Drum and Bass/House music. Overall, this album presents a selection of good material and shows the gradual stylistic development the band is undertaking.

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Justice: Cross

The French duo Justice have spent several years establishing themselves as one of the biggest names in the electro house circuit, known for their heavy indie/rock influence. The 2007 release 'Cross' interestingly is the duo's first album release, however in spite of limited material, they are one of the most commercially successful bands on their label.

Justice: Cross

The album begins with 'Genesis,' which, from the very start, clearly establishes the grimey style which the duo is known for. One of the duo's greatest commercial successes, 'D.A.N.C.E,' for which they received a number of award nominations comes early in the album, leading in to the alternative electro house 'Newjack' track.  This track combines pastiched vocals with harsh electronic overtones in a similar manner to their 'Phantom' single.

'Phantom' and 'Phantom Part II' thankfully make a notable appearance in the middle of the album. This two part work employs a cunning change of style comparable to Pendulum's 'The Island'/'The Island Part II.' Sadly however, the second part appears quite tame in comparison to some of the duo's other efforts. One of the album's strengths, however, is the manner in which the pace and excitement raises and falls by design rather than coincidence.

'DVNO' revisits the duo's more commercial stylings and builds to the albums finale, 'One Minute To Midnight,' which ends the album on a high. Any fans of Electro House should certainly give this album a listen.

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