» » Dean Blunt - Jill Scott Herring OST

Dean Blunt - Jill Scott Herring OST flac

  • Performer: Dean Blunt
  • Album: Jill Scott Herring OST
  • Label: The Trilogy Tapes
  • Catalog #: TTTape 025
  • FLAC: 1398 mb | MP3: 1825 mb
  • Released: 01 Oct 2011
  • Country: UK
  • Style: Experimental
  • Rating: 4.7/5
  • Votes: 887
  • Category: Electronic
Dean Blunt - Jill Scott Herring OST flac

Tracklist

1Jill Scott Herring OST15:23
2Jill Scott Herring OST

Notes

Hype Williams

Video

Vrion
Lingering behind the question of any electronic duo for whom the roles aren't clear cut is who, exactly, does what? Who's the genius and who's the hanger on? I recall it being roundly accepted that Cabaret Voltaire's Richard H Kirk was the ideas guy behind it all and the vocalist, Stephen 'Mal' Malinder, was just the talentless pretty boy...until Mal released a solo record of fuzzed up loops, heavily treated electro-acoustic weirdness that out-arted most of RHK's material. When Inga Copeland's solo 12" EP dropped a couple of months ago it appeared to be quite revealing: the tunes, production and ethos positively hugged that of her parent band to the extent that there were murmurings that she was the driving force behind the band, the ideas woman.

Naturally, what with Dean Blunt's solo cassette-only EP appearing relatively soon after Inga's outing, close comparison of the two is inevitable. Blunt reveals his extra-curricular activities to be more experimental, less focused on the beat driven, dance-continuum side and more on the textural, soundscape approach. Fuzzed out, colour-drained keyboard chimes pulse into the ether while guitars, semi-industrial clangour, samples and other audio slime are smeared across the spectrum. This is drone.

Part of the Hype Williams game is being blurry -not just sonically, but conceptually. Both records feature prominent bird-song and both make use of presets/textures employed elsewhere on Hype Williams releases (sonically, Blunt's EP is closer to Kelly Price W8 gain vol 3 than preceding releases) and so make the inevitable question of 'who does what in Hype' a tricky and slippery one.

Of two things we can be certain: Blunt appears to be the trickster, the most adventurous and experimental of the two, while Inga's contribution can be seen to fall into the pop/dance side of things -though, I must note, this is not me tritely settling on 'girl does fun stuff, boy does brain work', no, Inga's compositions are just that: composed, structured and in possession of a heady intelligence. Dean just seems to reject the organisational principles on which dance music rests, preferring the spontaneous mix-up/collage of sounds that seeps and billows, like a gas, rather than the crunching machine that produces it.

Overall, a great EP that, rather than demystifying the Hype situation, further (and gloriously) muddies it.
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