The Other Side is the third release from Berlin producer Robot Koch, and what a release it is. Fusing future pop styled vocals, glittering synthesizers and dubstep informed bass lines and beats, Koch keeps you entranced with a release you could listen to either on the train mid-commute, or while having dinner…….. or maybe that’s just me.
The thumping kick drum and skittering synth arpeggios of “Heal’ open proceedings. Sub-harmonic bass notes underpin the subtle vocal stylings of John LaMonica, a relatively unknown (for now) vocalist from Kansas, as slippery echoes glide to and fro. “Nitesky’ could be one of the best songs Radiohead didn’ write, with ghostly harmonised vocals wistfully drifting over downfiltered drums and piano. Swelling guitar lines roll into choruses of modulated electronica. This is most certainly future pop at its most austere. “The Other Side’ has wonky hip-hop beats and claps stomping along to old western sounding string samples and uncertain guitar motifs, coming off like a creepy mexican stand-off, albeit one with lazers instead of revolvers. Gliding vocoder harmonies slip quietly behind the lead vocal on “Island’, as the chorus assures us “you’re on your ownâ€. There’ a distinct post-dubstep feel abound in “Lights’, as more synth arpeggios sprinkle down like fluorescent electronic rain. Bass drops ominously between clicks and whirs, while the careful use of delay to sustain melody is brilliantly put on show. I’m thoroughly convinced that “Backwards’ contains a sample from Super Mario, and while I may not be correct, it’s an excellent exercise in modern electronica. “Midnight on the Moon’ has “2 a.m. club slammer’ written all over it, a menacing bassline growling at its core, pounding beats and a deadly synth breakdown. “Tapedeck’ grinds and slides as if sex itself, as LaMonica sings about “you’re body pressed against me, repetitively joining’…… ‘generating electricity’. “Feel’ has Graciela Maria’ seductive lines all over it, like someone whispering inappropriate things in your ear at a dinner party. “Bugs’ breaks into almost drum and bass territory, it’s hyper beats propelling the piece into oblivion. Vinyl crackles and woozy synths drift like a midnight ocean on “Love’, which closes the edition in a somewhat downtempo style, easing you back down to earth in charming fashion.
Koch has proven himself to be one of the more important producers of modern electronic music with this edition. Its effortless combining of genres makes it a joy to listen to. As a robotic voice informs us 2 seconds before the record stops, “this is not the endâ€. I for one certainly hope not. Essential.
Nick Giles
