I don’t really cover dance music. I find most of it overly loud and irritating, especially with the recent rise in EDM over the last decade. But I find it incredibly refreshing when an artist creates something that is somewhat danceable but isn’t bashing me in the head with over-compressed drums and a sickening overuse of risers, swooshes, and things like that. So I particularly enjoyed Public Domain 3D Terrain by Swedish artist Body in the Thames.
Something that stood out to me about the production on this album was how incredibly crisp the percussion was throughout. None of the rhythms on any of the tracks are all too complex. In fact, most of them are quite simple. But the impact they have on the track while supporting the synths is absolutely amazing.
As for the synths themselves, Body in the Thames utilizes quite a variety and all work exceptionally well in the context of their respective tracks. The first track, “6000…cash” is almost exclusively synth-driven save for a crisp yet punchy kick that appears halfway through and Bus Trips effectively harnesses an acid bass to support a variety of synth improvisation over the course of ten and a half minutes. And believe me when I say that the synth improvisation on this and the next track are top-notch and never stray too far from the main themes of either so as to make it overly abstract.
This is an incredibly enjoyable album that manages to be both somewhat danceable and supremely chill at the same time. Filled with a variety of influences, the entire album has a quality that feels “old-school” while also having a very modern production sound. Perhaps it is the funky sounding synths on “Alligator Souffle” or the 80’s hip-hop-influenced beat on “Some People Just Never Know When to Leave.” Whatever it is, I thoroughly enjoyed listening to it on repeat.