“Us” could be a fine song with a few essential components, but Chung adds sharp string samples and tiny bits of aquatic atmosphere to the relaxed melody. Sometimes he’ll rest longer on the beauty, but he is never lazy. James, Chung embraces beautiful, vulnerable melodic lines that like to snatch the spotlight, if only momentarily, from eerier mates. Similarly, on “Fog,” the airy bass loop that hops all over the scale in the song’s intro gives way to an increasingly slick cast of synths and beats. There is as much textural variety among this song’s synth lines as there is on the entire album. In place of a lyrical message are blips, claps, pulses, and slaps that do, in a way, speak.Īs his stage name suggests, Nosaj Thing can create translucent ghosts of songs, manipulating the volume and direction of light vocal lines on “Coat of Arms” to the effect that nothing is grounded or satisfied, even if the melody suggests resolution. While he categorizes his music as hip-hop, he’s merely laying down the beats here. On Drift, the peerless influence of Aphex Twin commingles with a preference for hip-hop beats and a collection of synth sounds that range from bird-like to monstrous. Chung proved he had this album in him with the 2006 EP Views / Octopus, featuring most notably the rabid, sparkling “Heart Entire.” Since then, he’s remixed the likes of Daedalus and label mate Flying Lotus, and gained exposure as a regular at events like Low End Theory’s club night in his hometown of L.A. Nosaj Thing, has plenty of this, he approaches his compositions with a studious and inclusive ear. Whimsy is a key ingredient, and while Jason Chung, a.k.a. Quote from: TMT Turning inherently precise electronic lines into a cohesive burst of innovation is hard to achieve. Ultimately, ‘The Beat of the Heart…….’ is not going to be to everyone’s tastes. At times the band sounds almost discordant, at other times, the sound is so lovely that it sounds completely out of place (the backing vocals on ‘The Magic Ingredient to Flames’ being a prime example. However, tenacity pays when listening to The Gentle Lurch, and eventually the myriad of charms contained in these sprawling arrangements start to present themselves. Much more pleasant is Cornelia Mothes bluesy vocals on ‘Owl’ and ‘Kept Woman’. Lars Hillers, heavily accented, half spoken drawl is a barrier that prevents any immediacy being discovered in the sound. On first listen, it is clear that this is an album that is not going to give up its charms easily. Also, their sonic palette has grown to encompass jazz and orchestral chamber music. This time round, the band is loath to include anything less than 5 minutes in length. Quote The Gentle Lurch’s second album, ‘The Beat of the Heart is the Beat of the Boss’ is a sprawling, experimental epic consisting of 14 songs split over two discs.
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