It leaves a whole roster of great pop tunes to a sterile and robotic afterlife. Tremors was already quite minimalist, but this takes that minimalism to the next level. His voice and sense of rhythm are quite unique and enough to carry most of the tracks by themselves, and although Tremors finds itself as a motif of the same elements at times, it presents enough change throughout to keep the record from ever growing stale. While there are undeniable similarities between and albums by , , and other producers from the soul chapter of dubstep's evolution, stands out based on the total opulence of almost every track here. Foremost it is music that I love, that is what drove me to create this site. You find yourself trapped and immersed within the music, which is in part testament to the superb production. Tremors is very deliberate; nothing happens by accident.
I confess to liking Duran Duran and the Bee gees in my youth. In the long run, Tremors never surpasses amazing, but it gets pretty darn close most of the time. Sadly for him, music is listened to by more people than Goldilocks and neither daddy, mummy or baby bear are entirely satisfied. We have interviewed so many of them, from The Drums to Destroyer. Debut album Tremors offers up track after track of similarly considered and meticulous sounds, capturing lonely and frustrated feelings that are often wrapped in, and ultimately redeemed by, gorgeous electronic backdrops.
Taylor brings a lot to the table here and pulls from a wide array of influences, yet it is Very much worth the listen and a promising debut. Debut album offers up track after track of similarly considered and meticulous sounds, capturing lonely and frustrated feelings that are often wrapped in, and ultimately redeemed by, gorgeous electronic backdrops. His work - traditionally steeped in effects, eyes pointed to the future - could slot into previous decades with ease given the right treatment. Whereas a similar artist like floundered over the course of a full album, Sohn flourishes. Somehow it just failed to kick off. For Sohn, music is something of a salvation. London born Vienna resident producer Sohn has chosen a path that is rather less strikingly accelerated than many of his contemporaries.
Hope you guys enjoy the website as much as we like working on it. Tremors was already quite minimalist, but this takes that minimalism to the next level. If you want to dive into a gooey, spiritual bout of hypnagogic jamais vu, then Tremors will be your guiding light. The comparisons to , The Weeknd and Sbtrkt all hold. It isn't all doom and gloom. It really is a well crafted piece of work that hits the spots at exactly the right time, without going over the top. You can hear it in the yearning, meditative opener Tempest as his bold and strong falsetto voice soars above the gently undulating electronics.
It specializes in a no-frills sort of falsetto, giving exactly what the song calls for and nothing more. Lyrics are also equally as important as sonic invention. Subsequently, Tremors sounds rich and pure, far beyond an anaemic bedroom laptop recording. Tremors finds time to be adventurous with its feet firmly planted on the ground; it moves maturely. It's a great album, deserving of your admiration or, at least, your attention. First impressions: it makes for exhausting listening. It's not bad by any means, but the chopped vocals get a bit redundant at points, and a few tracks feel like they have a lot of potential but never grow or expand into anything of substance.
The feeling of complete immersion in a particular feeling is deeply palpable, with every song smacking of loss, searching, and helplessness. This is Sohn's sophmore release, and I couldn't be more pleased. Word and Thoughts of Adam Williams My name is Charles Brownstein and I was born in Montreal, Quebec. But his command of space can be breathtaking and makes his organic percussive details and intense lyrics stand out in stark relief. I can't wait for the next album to drop.
Every night for seven weeks, the singer and multi-instrumentalist locked himself in his studio from 6pm to 6am. It's certainly not the music outright. There are many factors into what makes Tremors a worthwhile album to invest time in. Directly empowered by the likes of James Blake, Thom Yorke, and his own work with contemporaries Banks and Rhye, the self-produced Tremors lands Sohn near the top of today's variant of blue-eyed soul. This is precision electro-soul, and Tremors stares down the barrel at a red dot over your heart. And yet it's interesting to note or at least, this particular musical trainspotter finds it interesting that, despite the dire financial situation the music industry is apparently in, acts are still sent half way round the world to lock themselves up in bunkers in slightly sunnier and more exotic climes. The throbbing pangs that the songs evoke never lets up, even once the album is over.
The album Rennen is my current addiction and has been for about six weeks. The lovingly crafted textures of the instrumentation match the close detai with which Sohn has burnished his music. Proof also brings in some strong anti-system messaging. The small, intricate details that are interspersed throughout the tracks give them character and edge that some of the bigger sounding songs lack. Will give a few more tries. On Tremors, Taylor's perfect voice think Rhye's Mike Milosh or a silkier Justin Timberlake floats pretty melodies over stuttering beats, soothing synth lines, bleeps, bloops and the occasional injection of moody bass.
So when London-born, Vienna-based producer Sohn decided to make his debut album in the wee small hours, he was in good creative company. Some of the greatest artists in history have been night owls: Kafka sat down at his writing desk around 11pm, Proust sometimes breakfasted as late as 6pm, and judging by his love lyrics, Dylan seems to have had a pretty productive relationship with insomnia. Much of Tremors is cloaked with a sense of darkness and obsession; there is precious little light here. Vocals loop and twist but just as you wait for a surprise we are taken down to eerie electronic kick drum beats and not much else. As well as being a producer of sublime vision, he also excels as a songwriter.
Every song has something loud to say, and the album as a whole makes it scream. In the end, what keeps from drowning in its own paralyzed sadness is the feeling that himself has defeated these dark feelings through the painstaking process of crafting an album so beautiful. Sohn makes aching, minimal electronica with an ambient gleam, dubstep bass and a forlorn falsetto. The music, minimal and open, has clearly been influenced by this change in location, almost as if the fast paced, gritty lifestyle of London was suffocating his creative flow. His production and remix jaunts have seen him mastermind massive, swooning pop tunes, which while still brooding, boast a chart-nagging aura. Still a nice effort, but he set the bar a little too high for himself with his previous singles. Vocals loop and twist but just as you wait for a surprise we are taken down to eerie Only second listen but the neo-blues stuff seems tired.