~scape

scape46

		deadbeat
journeyman´s annual Whether taken as a reference to the journeymen of old or as a play on words adopted to suggest a year end reflection on a road weary existence, the title of Deadbeat’s forth album for ˜scape is all to appropriate. Since the release of his previous outing, "New World Observer" in March 2005, Scott Monteith has spent the vast majority of his time on the road, honing his skills as a master craftsman of genre defying electronic dance music. Though fans of Monteith’s previous ˜scape full lengths might find it difficult to envision his music as the soundtrack to a rollicking dance floor, Journeyman’s Annual is the first to showcase an updated version of the Deadbeat sound that has quietly been overtaking his more meditative work over the last year and a half. Indeed, those fortunate enough to attend a recent Deadbeat performance would be hard pressed to enjoy it from the relative comfort of a club’s beer stained couches. This is modern bass music of an entirely unique sort, crafted with the intention of moving asses as much as stimulating minds. Having consistently shown a creative vision which concerns itself not only with the trajectory of individual songs or even albums, Monteith opens Journeyman’s Annual with what could easily be seen as the next chapter of the story concluded on New World Observer. Easily the closest stylistically to his previous work for ˜scape, the opening 2 tracks employ minimal techno’s careful ruminations on endlessly repeating groove structure, while sitting comfortably in dubstep’s doom filled, 140 bpm pocket. For the album opener, "Lost luggage", Monteith enlists the aid of violinist and fellow Montrealer Sophie Trudeau (ex-GYBE!, A Silver Mount Zion) to craft what is potentially the darkest song in his entire catalog. An ode to those things literal and figurative so easily left behind when living out of a suitcase, Lost luggage is a ticking time bomb culminating in an explosive mid-song crescendo. Similarly, "Melbourne round Midnight" combines a familiar lurching funeral organ line with vaporous horns and a thunderous one note bass drop to create a chugging dub monster, certain to appeal to fans of Berlin’s rich history of exploring the genre’s dark side, as well as London’s half-step massive. Along with Trudeau’s string arrangements, Monteith also calls upon several vocalists met at various times over the last year to expand the album’s sonic palette. Jumping past the comfy intro ambiance and straight into a crushing noise and drum line, "Refund me" features the album’s first of said guests. Bristol based Bubbz (whom Monteith met while attending the Red Bull Music Academy in Australia in October 2006), spits a fiery tale of life’s day to day frustrations over the track’s hammering rhythm. A rough-and-tough combination which undoubtedly make it the album’s first go-to dance floor burner. "Deep in Country" marks the triumphant return of Moral Undulations, whose unmistakable baritone has graced countless Cynosure records as well as Mike Shannon’s Possible Conclusions… album for ˜scape 2006. The combination of his politically charged, bad man vocal stylings and the song’s militant snap-clap rhythm assault prove to be a match made in heaven. MU’s apocalyptic verses trade screen time with an appropriately horror show guitar line and gloomy cinematics to create a dancehall anthem for the end of the world. "On Gimme a little slack", the influence of Monteith’s weekly DJ sessions at Montreal’s infamous Dub Lounge shines through to devastating effect. Featuring firebrand Montreal deejay Jah Cutta, the dynamic duo craft a piece of pure heavyweight bashment, filled with searing percussion, impossibly low bass, and a vocal hook that will stay in your head for days after first listen. Having already gained local hit status, this one is definitely destined for big ‘tings. Pull up Selecta! Finally, as a bonus to this already fine set, we are pleased to include Deadbeat’s much sought after remix of Saul William’s Black Stacey from 2005. Previously only available on incredibly rare promo-only 12 inch, the track has been a trademark finisher of Deadbeat live sets for over a year and a half, and has driven the floor into a frenzy each and every time. Easily his most diverse album to date, Journeyman’s Annual is a far reaching account of new creative connections and rhythmic inspirations drawn from the four corners of the globe, and a spectacular sign of things to come from one of electronic music’s premier low end prophets.