Love Is a Liability
Reviewed by robinrenwick Source: (Alt Sounds)
According to the Love is a Liability Press release, “Planet Mu has a long and distinguished record of breaking new and exciting artists”. A glance at www.planet-mu.com and one starts to realise how many artists they have given a “break” too. Their roster is huge, and you start to think that surely not every release is good, is it?
Dubstep is becoming a bit of a craze these days. With big sleezy bass wobbles coupled with irresistibly dancy two step beats, the girls are jiggling and the boys are swaying. Is dubstep here to stay?, On the evidence of FaltyDL’s effort. Probably yes.
FaltyDL is also known as Drew Lustman, a pioneer of what is now going to be called New York Dubstep. Dubstep for me had previously lacked any real depth, feeling or emotion. Yes, there were some stand out efforts of imagination and haunting scenic escapism by a few artists, but sometimes it just seemed to be an attack on the senses, and while fun, would never last too long.
FaltyDL, with “Love is a Liability” has managed to take the sensible yet intricate melodic soundscapes of Chicago, New York and Detroit, and merge them with the glitch funkiness of the two step beat, and the outcome, on the whole, is sublime.
Drew Lustman, it must be said, is not the worlds’ most intricate drum programmer. There are electronic producers that would two step and bass beat him down to Central Park and Park and back, but his melodic and highly intricate synthesizer play is what stand him apart from the rest. It seems that not only does FaltyDL posses a wonderful ear for a lead line, but he also knows how to work a synths’ automation potential to its fullest.
There are tracks on “Love is a Liabililty” like “Winter Sole”, Track Four, and Track Six, “The Shape to Come”, where Drew takes his Dubstep to such emotionally fuelled places that you start to think you may be listening to a futuristic Enya album.
Winter Sole is a dreamy, yet very dark dancefloor filler, that would undoubtedly spin a room into gloomy shoe gazing melodrama. “The Shape to Come” is an ode to the future, and if this what the future of Dubstep is, I for one, am excited. “The Shape to Come” is highly emotional Dubstep, reminiscent of early Warp records stuff, except with better synth lines.
Track Eight “Truth” raises the bar again, with a lovely bass led Dubstep number. There were moments in this track that I wanted to email Drew and ask him what synth he used, and what the settings were. It really was that jaw-droppingly good.
After this little array into futuristic Dubstep, “Love is a Liability” drops back into standard production, with vocal led Burial esque fair. It isn’t until the final two tracks that FaltyDL raises the bar again. “Paradise Lost”, track 12 and “The Shape Has Come”, track thirteen, are highly charged, deep soundscapes, that are truly memorable.
I do have one concern with this album. All the songs are short, and you start to think that perhaps they are edits, with the single releases going to feature the full length versions, plus the extended remixes for the clubs. I would be excited about those. On the whole though an good, good album, except some of the songs were just too damn short. “Naughty Naughty” Drew.
- Eskmo - Let Them Sing
- Ikonika - Smuck
- Geiom & Shortstuff - No Hand Signals
- Starkey - OK Luv
- Raffertie - 7th Dimension
- Ceephax Acid Crew - United Acid Emirates
- Kuedo - Dream Sequence E.P.
- Starkey - Ephemeral Exhibits
- Neil Landstrumm - Lord For £39
- Distance - Repercussions
- Last Step - 1961
- Mrs Jynx - The Standoffish Cat
- Venetian Snares - My Downfall (Original Soundtrack)
- Meat Beat Manifesto - Autoimmune
- iTAL tEK - Cyclical
- Mary Anne Hobbs - Evangeline
- Venetian Snares - Miss Balaton
- Various Production & Virus Syndicate - Apollo/Neva Argue
- Sunken Foal - Fermented Condiments
- Sunken Foal - Fallen Arches
- Venetian Snares - Detrimentalist
- The Gasman - Superlife
- Eero Johannes - Eero Johannes
- Virus Syndicate - Sick Pay