The opener itself is an arpeggiator-race, downhill, deep into the guts of noughties-style beatmixing. With the echo-sounder set to sub-bass, you’ll dive down to a dark and eccentric underworld. There are shrill synthesizers, bubbly beats and massive waves, greeting their listener with an ever same dystopian tuning. It soon makes sense that the usually thrilled visitors of the pop-circus become quiet when they’re eye to eye with this record. But it’s exactly their petty-minded idea of music that’s fun to cut into pieces. What’s best used for the cutting and the dissectioning is the artist’s variety of styles, his scalpel of samples. His old friend, the funk, is a subliminal part of every single track, even though funk has pretty much turned into a quiet consultant over the years, mostly acting in the background. But there are others at the party these days, like a kind of hybrid between downtempo house and minimalistic break beat sounds; with those two at his side, he has already become one of the most popular beat-smiths of these days. Despite their differences, it’s tracks like »Chocolate Orange«, »Down« or »Sheeeeeiit« which illustrate the reason for nowadays’ success of HipHop and electronic music. They focus on the back bone of any well-made hit: it’s all about the bass and the drums. Maybe put a few BPM on top, take some off-beats out, and you’ll have produced a song with hit-potential. Fulgeance keeps missing the inter-space between the two styles in such a perfect manner that even the biggest purists from both camps would grant him an unlimited beat-authorization without a second doubt. It’s impossible to think of the scene and not think of Fulgeance.
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