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Throughout the album there is a real focus on breaking away from the standard ideas and ideals of the drum’n’bass formula – for a start and as I mentioned before, the pace is not of your standard “how many drum hits can I fit in this bar” formula. In fact, with the bpm slowed down it allows for more of a focus on the sounds around the rhythm. This is where this album comes of its own. Throughout there is a focus on atmospheric sounds, broken pieces of speech, and mechanical tones, making up a mesh for which the beats can sit on. “Clip Incident” has a real ambient kind of quality to it, with ghostly keys sitting behind the drum kicks and occasional bass parts. Additional atmospheric screeches add to the aura created to make a fine, semi-chilled track. “Black Note” is another notable for its Squarepusher-esque jazz sensibilities, however things are not allowed to get too experimental thanks to a simple kick drum repetition breaking up the jazz sequences into manageable chunks. Squarepusher is said to be influence to this artist, but luckily the music stands up on its own, rather than being an imitation of the virtuoso bass-playing innovator. No, Terminal Sound System has a distinctly different flavour, and quite a tasty one at that. Altogether a coherent and interesting take on the drum'n'bass formula, which pulls away from the two comprising elements to provide a different focus. For me it actually sits somewhere between the d’n’b, jazz and ambient genres, yet is sure enough of itself to be original from them all. A nice, chilled album that you can listen to at home without the need to set off an airhorn, or dance like you’ve set fire to your jeans! MIKE WHYTE |
