Cyclic Defrost Magazine

Posted: 15 May 2009 01:18 AM PDT

Hecuba

Los Angeles-based electronic art-pop duo Isabelle Albuquerque and John Beasley first started working together as Hecuba in 2006, their reputation for impressive live performances being bolstered further by the release of last year’s ‘Sir’ EP, a conceptual piece that saw the two vocalists occupying cartoonesque ‘cat and mouse’ roles. Given that the name Hecuba comes from a character in Homer’s ‘Iliad’, it seems appropriate that Albuquerque and Beasley have chosen their own self-made likenesses classically carved in stone as the sleeve art for this debut album ‘Paradise.’ Indeed, the ten tracks collected here see Hecuba operating in a downbeat pop milieu that places classic elements pieced together in unfamiliar ways – resulting in something that frequently feels like cabaret art-pop beamed in from some alternative universe. There’s certainly more than a touch of the theatrical, with opener ‘Even So’ almost calling to mind Fischerspooner as stripped back electro-disco flourishes ascend beneath Albuquerque’s emotionally naked lyrics ("the two great loves of my life / were you and being your wife"), while ‘La Musica’ sits closer to analogue-heavy samba-electro, as clattering snare breaks and pulsing sub-bass rumbles beneath Albuquerque’s teasing chanteuse vocals. Given the minimalistic electronic and piano arrangements here that frequently place Albuquerque and Beasley’s duetted vocals in the foreground, it’s perhaps easy to see why Philip Glass comparisons have been made in relation to Hecuba, but in this case ‘Paradise’ sees the duo pursuing a classic pop path that runs directly from the classic FM likes of The Carpenters and The Cars, right through to more contemporary RNB and artists on the periphery of the dance scene such as Roison Murphy. Whilst throughout the vibe is pretty much centred towards laidback after hours listening, ‘Miles Away’ offers up perhaps the one techno-centred moment here, with Beasley taking the vocal spotlight as glittering percussion fills rumble and clicking, minimal snares carve a path beneath. Through, you’re left with the sense that Hecuba are pursuing a muse that’s very much their own…the sheer accessibility of this debut meaning that there’s likely to be a fair few willing to come along for the ride.

Mobthrow – Mutant Dubstep Vol. 3 (Spectraliquid)

Posted: 15 May 2009 01:19 AM PDT

Mobthrow

This third and final chapter in Spectraliquid’s ‘Mutant Dubstep’ EP series also represents the debut release from Athens-based breakstep / hardcore producer Mobthrow and offers up an extremely impressive introduction, collecting together three original tracks alongside a couple of remixes. As with the two preceding volumes in the series from Ebola and Cardopusher, the term ‘dubstep’ is used loosely here – while opening track here ‘Jazz Monsta’ opens with the sizzling sound of distorted electronics and detuned double-bass runs, the resultant storm that follows leans considerably more towards industrial-edged hiphop in the vein of Techno Animal, though there’s certainly an acceleration into skittering, jazz-informed snares towards the midway point, which sees some of Mobthrow’s more breakcore-centric leanings coming to the surface. ‘Breakstar’ meanwhile sees some of dubstep’s more familiar signature elements locking into place as digitally contorted vocal samples and shuffling, off-beat rhythms traverse a toxic backdrop of evil, distorted synth squiggles and vast sub-bass drops – a moment that’s likely to prove the most palatable to Hyperdub-oriented listeners here, before ‘Deathstep’ tightens the massive steel-plate rhythms up even further, unleashing a menacing wander through dark ambience and juddering Bug-esque industrial-hiphop beats that comes on like the soundtrack to apocalypse, doomy orchestral bass synth arrangements and all. In addition to the three original tracks here, there’s also a reworking of Future Sound Of London’s pre-millennium tension-centric ‘My Kingdom’ which sees Mobthrow playing it comparatively straight, layering a satisfying dark electro snap beneath the original version’s heavily phased vocal and percussion elements, before Ad Noiseam’s Mad EP closes things off with a remix of ‘Jazz Monsta’ that leans towards Amon Tobin-esque dark cinematics, trailing eerie, Balkan-sounding violins through a treacherous background of crunching, chaotic breakbeats and clattering jazz snares. All in all, an extremely impressive debut offering from Mobthrow that marks him out as a producer to keep an eye on – whilst also closing off Spectraliquid’s ‘Mutant Dubstep’ series off in style.