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1961

by

Last Step

 
1961
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Avg: 4.0 (8 ratings)

A brilliantly wrong-sounding murk of playful analog trickery

  • We Say...

    Everything about Last Step's 1961 feels slightly wrong. He keeps a simple toolkit, sticking to unvarnished Roland TR-808 drum machines, sampled drum breaks and what sounds like a handful of analog synthesizers (or, perhaps, their faithful digital clones), but it's all cloaked in a weird, warbly murk, where sounds bleed together and melodies seem to mold like lukewarm milk filmed in time-lapse. What his jittery assemblages borrow from Aphex Twin, Mu-Ziq and Squarepusher isn't just a palatte of squelchy synthesizers and choppy beats, but a restless and relentless approach to arrangement. His stuff doesn't just move, it's on the move, always, trying out a riff or a key change and then darting like a barn swallow in a different direction. The eccentric "Haha Waffles" sounds like an acid-house update of 18th-century salon music, all squiggly pirouettes and squirmy accidentals — and counted out in a measure of seven, at that. There are plenty of playful time signatures here, including "Portoghese," a sprightly, shivery cut that stubbornly resists parsing: forget four-to-the-floor, this is more like six and a half. It's not all so clever, though: tracks like "Seafoam Green" and "Triple Self Portrait" make nice with the rules just enough to relax into an agreeable groove. One of the album's finest tracks also wears the most inappropriate title: after so much amped-up vamping, "Showboat" turns out to be a slow, Detroit-inspired number that isn't afraid to play it cool.

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