Butterfly Crush (![[info]](http://l-stat.livejournal.com/img/userinfo.gif){kind=small} crushzine) wrote,@ 2006-06-20 13:59:00 |
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STEPHEN BEAUPRÉ, Macro-House 12" ep
A highlight-provider of Akufen's admirable Fabric mix CD, Montreal's Beaupré is one of those blessed manglers of beats and pieces who are successful in squaring a willingness to fracture and scatter with a strong fancy for grooves and tunes. This is evinced in microcosm by the multi-track female vocals that zig like noisy, excitable ghosts across the impishly syncopated rhythm of first sally 'Misshapely.' Made shrilly phantasmal by electronic warpage and skewed by frantic editing, these voices constitute, nevertheless, an oblique kind of melody that is catchy as all hell.
Swirling along with these in the track's pungent mystic fug are occult crinkles and curls of a guitar whose cabbalistic chimes are redolent of both sounds from Southwest Asia and, to my great 90s' summer nostalgic delight, Orbital's 'The Box.' The guitar returns for the descent into 'Stay Here Every Night''s spiral curve of minimal tech-house, which is suctorial and deep as the plunge in a dream into dreaded abysses of dangerous desire. Heartening soul-girl vocals come and go in bright blinks like flashes of a camera, but don't dispel the murk of the breathy, predatory male whispers - 'You're gonna stay here every night' - which hang heavy and smoky over all like a suspended mass of gasoline exhaust in heat.
On 'Baby Shine,' however, the honeydew voices move well to the fore, as Beaupré cheerfully melts to a creamy consistency the 80s pop-funk substance of Cameo and Mtume, so to spread it lubriciously over dub-wise tech-house with all the tantalising spareness of an hour of sunshine in a reign of grey weather. Like the two pieces on the A, the sense in which this may accurately be termed 'Macro-House' is a beautifully 'less is more' one.
A highlight-provider of Akufen's admirable Fabric mix CD, Montreal's Beaupré is one of those blessed manglers of beats and pieces who are successful in squaring a willingness to fracture and scatter with a strong fancy for grooves and tunes. This is evinced in microcosm by the multi-track female vocals that zig like noisy, excitable ghosts across the impishly syncopated rhythm of first sally 'Misshapely.' Made shrilly phantasmal by electronic warpage and skewed by frantic editing, these voices constitute, nevertheless, an oblique kind of melody that is catchy as all hell.
Swirling along with these in the track's pungent mystic fug are occult crinkles and curls of a guitar whose cabbalistic chimes are redolent of both sounds from Southwest Asia and, to my great 90s' summer nostalgic delight, Orbital's 'The Box.' The guitar returns for the descent into 'Stay Here Every Night''s spiral curve of minimal tech-house, which is suctorial and deep as the plunge in a dream into dreaded abysses of dangerous desire. Heartening soul-girl vocals come and go in bright blinks like flashes of a camera, but don't dispel the murk of the breathy, predatory male whispers - 'You're gonna stay here every night' - which hang heavy and smoky over all like a suspended mass of gasoline exhaust in heat.
On 'Baby Shine,' however, the honeydew voices move well to the fore, as Beaupré cheerfully melts to a creamy consistency the 80s pop-funk substance of Cameo and Mtume, so to spread it lubriciously over dub-wise tech-house with all the tantalising spareness of an hour of sunshine in a reign of grey weather. Like the two pieces on the A, the sense in which this may accurately be termed 'Macro-House' is a beautifully 'less is more' one.
