ALBUM REVIEW: nickwuh - us against the universe

On us against the universe, nickwuh presents a vision that is eclectic, inspired, and driven by killer pop songwriting.

Reviewed by Ash

 

 

AUTHOR'S NOTE: As always, before reading this review, please support nickwuh by streaming or purchasing the album! The project can be streamed on Spotify and Apple Music, and in limited form on Soundcloud. Please also consider checking out the Genius page for this album, which contains lyrics and comments from nickwuh; I will be referring to this page regularly throughout this review.

 

An earlier version of this article misidentified the Collegium listening session at which Nick had presented his music; this has now been corrected.

 

IF YOU WERE TO CROSS the pop songwriting sensibilities of Taylor Swift, Sufjan Stevens, Porter Robinson, and Keshi with the production talents of Clarence Clarity, Travis Barker, and A.G. Cook, you might end up somewhere close to the niche which nickwuh has carved himself. I was first introduced to Nick Wu's music via a track he presented in the September Collegium listening session, which merged math rock and hyperpop aesthetics into a well-rounded and interesting package. The resulting song caught my ear, and I found myself excited to hear what else Nick's back catalogue had to offer, so when I heard there was a new album from him, I eagerly pulled it up and started working on this review.

As a freshman in the MTech program, Nick has emerged from the pandemic with a fully-realized artistic vision with his third full-length LP, us against the universe. The sheer ambition and scope of this project is obvious right away; boasting 17 tracks, supported by six singles, featuring an entire CMS class's worth of featured artists, and clocking in at a hefty one hour and fourteen minutes, us against the universe is an impressive, gargantuan effort that showcases Nick's seasoned expertise in production and songwriting. Especially when compared to more typical MTech student projects, which tend to be smaller in scale and on the shorter side in general, the huge scope and sprawling vision of this LP is obvious. The music reflects this ambition as well, as Nick sinks his teeth into a variety of sounds drawn from a wide body of artistic influences to create a truly eclectic body of work that seamlessly slides from hyperpop to EDM to pop punk with ease. The lyrics deal with relationships, growing up, and the difficulties of life in the pandemic, as Nick bares his soul to create a massively compelling coming-of-age story that synergizes perfectly with his production choices. In short, us against the universe is a masterful showcase of eclectic production, pop songwriting, and tasteful genre crossovers coming together to create an album experience that feels fresh, futuristic, and heartfelt all at once.

 

In my own personal opinion, I believe that the opening track is one of the most important parts of an album; as the first taste of the entire tracklist, the opening track establishes the listener's expectations for the entire LP. With this in mind, "celeste", the first track and lead single from the album, does its job remarkably well. The track opens with a long intro, propelled by huge, epic synthesizers that slowly increase in tempo, backed by cinematic hits and heavy synth bass; the resulting sense of anticipation makes the entrance of the first verse almost a full minute into the song all the more pleasing. We get nicely doubled vocals from Nick and the featured artist, fayling, over a beat that lands somewhere between trap and soft hyperpop. Nick and fayling have remarkable vocal chemistry together, and their voices blend together seamlessly. The beat boasts thick 808 bass and a sparse drum pattern behind simple acoustic guitar arpeggios, making for a nice pop vibe, while Nick's consistently catchy vocal melodies continually elevate the song. The second verse's first half sees fayling's vocals take the lead, and they sound amazing, delivering a heartfelt, tender take on Nick's melody that simultaneously exudes confidence and conviction. Nick himself brings a smooth, soaring falsetto during the song's bridge. Overall, "celeste" makes for a promising opening to the record, with its earworm melodies, tasteful production, and strong performances providing the listener with a solid taste of what we can expect from the sixteen tracks ahead. 

The next track and second single from the album, "life story", opens with an upbeat, major key synth riff over drums that straddle the line between 808-style electronic drums and punchy, compressed Travis Barker-esque acoustic drum samples. As the track builds to its chorus, we get huge saw chords mixed with tasteful guitar melodies; the overall vibe lands somewhere between hyperpop and pop punk, which makes for an entertaining and catchy listen. We also get a short instrumental break led by a synth solo before the track's second chorus, which is a pleasing switch-up that deviates from the typical verse-chorus pattern in a tasteful and well-executed way. The halftime break in the song's last chorus is another example of a production curveball that subverts the listener's expectations in a nice way. Nick's lyricism shines especially brightly on this track, as he discusses heartbreak and the hopelessness of love in the context of the pandemic with earnest vulnerability. I found this track especially relatable, and I thought it perfectly captured the frustration of searching for love amidst the loneliness of the pandemic-era directionless spiral that defined our lives during those years. In reference to the song's lyrics, Nick explains, "I had this mindset of, 'what's even the point in getting to know this person if all that's gonna result from this is pain and discomfort for both of us?'"—a sentiment that the song's presentation communicates loud and clear (source: Genius).

 

For the third track, "dying to see you", we slow down a little. This track dates from "a few days into the pandemic", so it "dates way back", in Nick's own words (source: Genius). I never would have guessed that this track was over two years old, since the execution is just as polished as everything we've seen so far. The track opens with moody vocals over a sad acoustic guitar riff and nicely-arranged strings, which calls back to the deep, raw pathos of artists like Sufjan Stevens for me. Despite the sadder atmosphere, this song's chorus is just as catchy as its predecessors, and the drums crashing in make for a welcome addition. The song also serves as a great opportunity for Nick to show off his vocals. The harmonies on this track are really nice, with some nice harmonic moments cropping up during the verses; the choruses have some beautiful octave doubling as well. During the last couple of choruses, Nick introduces this lovely flat second chord that sounds great in context; Nick has a real penchant for introducing the occasional non-diatonic chord as extra flavor, which is something I really admire. He also turns in a captivating lead vocal performance, as he gives us these stunning high notes during the last chorus that convincingly cement him as a skilled vocalist in addition to his production and songwriting talents.

"amber" opens with a crazy, swung synth pattern backed by equally groovy drums. The result ends up feeling like Nick's take on early '90s new jack swing through a hyperpop lens—a mix which he manages to make feel impressively natural. The chorus boasts a call-and-response between Nick's third-octave lead vocals and a falsetto backing vocal, which adds a great sense of movement and dynamism to the chorus. The track goes full EDM during its last chorus, introducing a huge synth saw lead as Nick's lead vocals soar into the upper fourth octave. I'm not sure I love the EDM elements of the last chorus, since it takes the song into territory that makes it feel a little overproduced for me, but as per usual, the songwriting and underlying tune remain great either way. Nick writes, "that idea of meeting your life partner at an early age feels so precious to me, so I wrote this song about that", and the themes of innocence and uncertainty inherent in young adult romance shine through the EDM presentation of this song to give it an endearing atmosphere underneath the maximalist production (source: Genius).

"the painter" is one of the more musically complex tracks on the album, and it took me a few listens to wrap my head around it fully. Subtle, crackling Rhodes keyboards open this track as Nick croons softly over some really nice backing harmonies; his opening line ("Technicolor reverie, acrylic-laden dreams/Retrospective pondering at four in the morning") instantly paints (haha) a vivid and sharply-realized picture in just a couple short lines. By the first pre-chorus, understated acoustic guitars enter the mix as the track begins a quiet storm-style, subtle buildup. Soon after, we get a crazy tempo switch that somehow works perfectly with the established 12/8 groove. As the choruses continue, the track builds to include a huge kick drum and heavy, sidechained synth bass before eventually segueing into a pseudo-orchestral break chracterized by staccato string chords and marching snares. As a listener, I felt like I was getting whiplash from the many switch-ups and stylistic changes in this track, but it didn't take too much away from my enjoyment of the track. On the Genius page for this song, Nick explains that the track is, in part, about dementia and memory loss, which works amazingly well with the disorienting & rapidly shifting production. I definitely wouldn't pull up this track looking for a straightforward pop song, but as a meaningful piece of concept art that borders on the avant-garde, I respect it tremendously.

 

Pictured above: Nick Wu, the man behind the madness of us against the universe.

The following track, "my everest", is a huge standout track from the album for me. The track opens with ethereal, sparkling synth arpeggios over a four-on-the-floor kick drum and warm electric guitars, making for another track that feels very pop punk to me. I really love the drum work on this track; the electronic 808 drums are mashed up seamlessly with acoustic drum samples in a way that never feels unnatural. The pattern constantly shifts and always gives the listener something new to grab onto. A deep bass and driving rhythm under one of Nick's best vocal melodies so far make this one of my favorite choruses on the record. The verses are interestingly assembled, consisting mostly of Nick trading lines back and forth with the various features (Jason Solo in the first verse, and lil slav in the second). Jason takes the lead vocals during the bridge, turning in a tender and heartfelt vocal performance with a nicely-textured timbre to his voice. The track also gets a huge beat switch in its final act, when the tempo slows down and the electronic drums are entirely replaced with acoustic drums for a moment that fully leans into the track's pop punk influences. I catch some Sum 41 and New Found Glory in the song's presentation, which I really love; the faithful stylistic rendering of pop punk maps remarkably well over Nick's established style. The vocalist during this final act, Izomii, has a voice that really reminds me of Alex Gaskarth of All Time Low, which suits the pop punk presentation perfectly. The production on this track is killer and the contributions of the numerous assembled features combine for an absolutely outstanding result. Nick used every feature smartly, and no one feels out of place on the song. This track is indisputably one of my favorites on the record and the mishmash of styles works perfectly here.

 

In sharp contrast to the preceding track, "worry me" opens with soft vocals, downtempo drums, acoustic bass, and low-key, shimmering electric guitars that create a vibe significantly more indebted to R&B than we've heard previously. I catch some stylistic flourishes reminiscent of Trey Songz and Usher coming through in the pop/R&B crossover mixture that this song presents. The second verse shakes up the established formula, with some nicely-performed piano parts giving way to a tasteful, retro '70s clav sound, and later, acoustic guitar arpeggios. The two featured artists, haz and raddydydy, are utilized perfectly as well, performing some really nice duet parts and backing vocals together.

Nick gets a chance to show off his excellent falsetto during the slow burn verses on "dream journal", delivering angelic, soaring melodies over shimmering production. The vocal harmonies sound great on this track, thanks in part to stvphn's excellent performance during the song's choruses, and it's obvious that a lot of effort went into the sound selection on this track. We get ethereal synth bells, mournful piano, soaring strings, cavernous synth pads, and subtle but distinctive reverb-soaked drums, resulting in a lush soundscape that suits this track's more contemplative and dreamy (get it? …okay I promise I'll stop) mood perfectly. nothenri takes over lead vocals on the bridge, delivering vocals that sound influenced by R&B with a decidedly folksy edge. "worry me" and "dream journal" together make for an excellent contemplative moment in the middle of the tracklist, and constitute a nice break from the full-force pop songs that define much of the rest of the record.

Panning staccato string chords introduce "all it costs is your love", giving this track an almost-Taylor Swift kind of feel—though Nick himself credits the 1975 as an inspiration for this particular element (source: Genius). This is an aesthetic paralleled by the vocal performance of Luoe, who sings the intro, and JerFlor, who takes the first verse. By the time Pikoyin takes over to sing the chorus, we get crashing claps, towering risers, and EDM synths that make this track feel like it was made for the dance floor. This track admittedly isn't my favorite; I don't feel like the EDM aesthetic maps over Nick's style quite as well as the pop punk, singer-songwriter, and hyperpop styles with which Nick has already successfully experimented. Nevertheless, the second chorus is admittedly a pretty cool listen, as Pikoyin's vocals get mangled and manipulated in increasingly interesting ways, which was definitely cool to experience. Even though I didn't love this track, it's undeniably a very strong showcase for Nick's talents as a producer.

 

Surreal, reverb-heavy vocal chops open "spring day", floating on a bed of trap drums and otherworldly, heady synthesizer arpeggios. As the track builds, we get choppy, flickering synth chords and angelic falsetto backing vocals, imbuing the track with a soaring, heavenly feeling that I found quite infectious. Nick's lyrics also shine here, and the ideas of wanting to stop growing up and risk losing those around you come through beautifully in the plaintive request, "Just forget that the seasons change". We get a more overt switch to EDM in the track's final act, as Nick throws us a four-on-the-floor kick pattern along with some huge, sidechained saw chords. I feel that this is a much better EDM crossover song than its immediate predecessor, riding on production that straddles the line between electronica and trap, bolstered by a strong, catchy pop chorus. The halftime break at the end of the song where the intro beat returns is also really cool, and Aston's performance on the second verse is quite well-done. "spring day" definitely stands out as a super unique vibe amongst the rest of the tracks, with its psychedelic and otherworldly production making it one of your favorite instrumentals on the LP. It captures the "inching inevitability of college" and communicates the fear of growing up and losing touch before the lyrics even kick in (source: Genius). I found this to be a very relatable track, and Nick presents it in such a vulnerable and endearing way that I can't help but empathize with it.

 

"stickaround" returns to a hyperpop aesthetic, flaunting a pop punk lead vocal performance over big saw chords and heavy trap drums. Nick gives us a rap verse where he brings the heat, showcasing rapid-fire flows in a performance filled with heartfelt intensity. The final choruses sees him really let the vocals rip, letting out some metal-ish screams as he climbs into his upper register. I really dig the more overtly rock-influenced vocals on this track, and I catch some shades of Derek DiScanio and Jon Lundin in this vocal performance as Nick once again proves he can hold his own vocally in a wide variety of different styles.

As for the following track, "blush", a four-chord piano melody solidifies this track's more straightforward pop feel. When the chorus hits, we get huge, choral backing vocals under an anthemic melody. This track really made me respect Nick's versatility as a vocal performer; he switches back and forth between laconic pop punk singing and tender, expressive crooning effortlessly, with primarily the latter style on display in this track. Nick's vocals and songwriting shine especially brightly here. His vocals feel a little more raw and a little more natural, so his performance absolutely works in this context. About the lyrical content, Nick explains, "it's about regretful timing, and so all you can do is wish them the best in life", and his regret and pining absolutely sells this song for me (source: Genius). He sounds remarkably heartfelt and emotional as he delivers his serenade, and this performance pairs perfectly with the production, showing us that he can excel in a stripped-back, straight-up love song like this one.

 

"anastasia" is an acoustic guitar ballad with a DIY singer-songwriter feel. The mixing isn't super polished or professional-sounding during the first verse, but I find that that decision adds a lot to the vibe; the rustling noise and lo-fi static give the track an endearing and organic presentation. Nick wastes no time returning us to familiar places, though, as we soon transition back to a synthy beat with trap drums. At this point, I started to worry a little that the sound of the album would begin to grow old, but the crashing, thick power chords that entered during the chorus were a really nice touch and proved me thoroughly wrong. The second verse brings cool guitar arpeggios that are variously chopped up and reversed to create a rhythmically complex and deep soundscape. After the second chorus, we get a sick curveball transition into a drum & bass break, which was definitely super unexpected and added a lot to my enjoyment of the track. We then transition further into a steady pop punk final chorus with pounding acoustic drums and thick guitar chords. The track's final act returns us to the DIY feeling of the track's opening, with Nick performing falsetto runs over crackling, reverb-heavy piano and lush harmonies. The diverse, shifting production and wide variety of styles explored in this track make it a wild journey from start to finish; I love the way that everything is executed, and the cyclical nature of the song's presentation returning us to a lo-fi aesthetic makes for quite a pleasing listen. I absolutely love this track and Nick deserves all the props for pulling off such a rhapsodian mismash of styles in a manner that feels this cohesive and grounded.

On the following track, "standstill", acoustic guitar riffs become bolstered by filtered synths over a sparse drum groove to open the track. The second verse brings pseudo-choral backing vocals that back up Nick's lead vocal in beautiful fashion. The track constantly shifts between light, downtempo trap and peppy, guitar-driven power pop. Nick even gives us a rap verse before the track's climactic final chorus, when the guitars swell and mix with the synth chords in an overpowering wall of sound. The breakdown at the end of this last chorus is absolutely insane and points to more unhinged, maximalist, Dorian Electra-style hyperpop than Nick has gone for on the whole album. Arpeggiated bass and aggressive, swarming synthesizers give this track a decidedly memorable outro.

Swung percussion makes for another techno/new jack swing style crossover on "cherish". The chorus melody soars, and the background vocals during the second verse are very nicely done. Mangled vocals characterize the song's bridge, and the vocals from mollywithawhy are a nice touch; she delivers a beautifully cutting line in the form of, "You mean the world, I'd give up my soul/To quiet your nerves and steady your heartbeat", wracked with palpable emotion. We go full EDM during the song's instrumental break, with a big lead synth coming to the front and skittering up and down its upper register over sidechained chords. I'm not the biggest fan of this track, though it may just be lingering ear fatigue since we're fifteen tracks deep by this point. The track boasts a solid chorus and eclectic production; I just wish it stood out a little more from the other songs in the tracklist.

Nick, in the process of tracking vocals.
 

As we near the end of the album, in spite of my feeling a little worn out as a listener, "ecstasy" quite firmly wrenched me away from my ear fatigue with its endearing DIY spirit. The nicely layered vocals and passionate vocal performance once again call back to the stylistic leanings of Sufjan Stevens. The guitar work on this track is truly aces; the soft and expressive playing perfectly communicates the tender emotion of this track, which makes for a meditative and warm penultimate track. The piano and guitar-driven instrumental is sparse and tastefully restrained, and this stripped-back style suits Nick really well. "I hope you learn to love yourself again" has to be one of my favorite lines on the record… so simple, and yet it says so much and cuts so deep that I can't help but resonate with Nick's increasingly emotional performance. Unlike many of the other songs, whose Genius pages generally have longer-form descriptions that sometimes span multiple paragraphs, "ecstasy" has a page that simply reads: "I wrote 'ecstasy' for someone who meant a lot to me for a short while", which I feel is perfect; nothing more needed to be said about it (source: Genius). This is absolutely a standout track, with pathos and feeling practically oozing from it. Something tells me I wouldn't complain too much if Nick were to release a whole album like this.

The record goes out with a bang in the form of the eight-minute, wonderfully ambitious "breathing colors". The song opens with a swung groove and a chord progression that sounds rather indebted to indie pop, despite the distinctly hyperpop-esque heavy synth chords, autotuned vocals (courtesy of k_m), and blippy leads that define the opening act. The moment where everything drops out minus the lead vocal and a lush, textured vocoder is so good it shouldn't even be allowed (I am definitely biased, since I always love a good vocoder break). Soon enough, though, the vocoder goes the way of the dodo, and we get a chorus defined by absolutely massive guitar chords that transition us into a more trap-influenced second verse that calls back to the sound palette of the album's opening tracks, albeit this time with a more introspective slant, and poetic verses delivered by featured chazles and evz. A long middle break with a narration from koen eventually builds to a huge, crashing chorus; Nick climbs the ladder into his crystal-clear upper register, and later, into metal screams, as he asks "can I stop to breathe?" amidst rising synths. The pop punk aesthetics of some of the earlier tracks make a triumphant return as we break into 6/8 time and the drums slam into focus amidst heavy, hard-edged power chords. The climactic final section of the track uses piano and strings under k_m's lightly textured vocals. As strange as it feels to end the album on a voice that's not Nick's, the track carries so much emotion that I don't really feel bothered by it. At the end of this long album, the track feels very much like a cathartic release of all the pent-up heartbreak, pandemic miasma, and pervasive self-doubt we've spent the last hour and fourteen minutes exploring. I was utterly emotionally spent by the end of it. The ambition of this track is truly stunning—though to be honest, I don't see myself listening to it much, unless I'm prepared to be a little sad for a while after I'm finished listening. I suppose that's a sign of an artistic vision, clearly conceptualized and executed with surgical precision and heartfelt conviction.

nickwuh, performing live in Washington Square Park.
 

My overall thoughts on this album can perhaps best be summarized by articulating the jealousy I feel when listening to us against the universe, chiefly because I definitely wasn't making anything as polished, focused, or inspired as this when I was a freshman! Nick's consistently catchy songwriting and vocal melodies anchor this record, pairing with his diverse production to create a one-two punch that together forms the album's biggest strength. He has a great sense for writing interesting pop songs, relying on catchy chord progressions while throwing in the occasional non-diatonic chord and melody switch-up to keep things interesting. His songwriting choices almost invariably feel earned and natural, and all of the bridge sections scattered throughout the LP show off his innate ability to manage the emotional flow of each song. The production is also truly wonderful, showcasing a real feel for sound selection and design. Nick's instrumentals never feel static, and the constantly evolving soundscape of each track pairs with crazy, left-field switch-ups and various crossgenre combinations to create a record that is at once nostalgic and indebted to the enduring familiarity of pop music as it is unpredictable, thrilling, and futuristic in its determination to keep pushing the envelope forward.

Nick also cements himself as a smart curator of features on this record, as he pulls from a sizable pool of featured artists and distributes them amongst the tracklist in ways that almost always serve the song and add to the overall experience. None of the features stood out as being particularly misplaced, which I think speaks to the strength of Nick's creative vision, as well as the musical talents of all involved. My one gripe with the features, especially the more masculine performers, is that I wish the performances and the mixes made the features sound more distinct as compared to Nick; without the help of the Genius lyric pages, which clearly delineate who is singing at any given time, I would have had a difficult time determining where all the features were actually placed. Nonetheless, I found the features to be another defining strength of this project, and some of the more stylistically distinct features (Izomii on "my everest" and Aston on "spring day" are particular standouts) added a lot to my enjoyment of the songs. While not every stylistic crossover experiment on the LP yielded results that I fell in love with, the album as a whole is an impressive display of eclecticism that unquestionably speaks to Nick's abilities as a true musical chameleon. I very much enjoyed us against the universe, and I am especially intrigued to see how nickwuh follows up this record and its universe-sized artistic vision.

Personal enjoyment score: 8.5 out of 10

Standout tracks: "celeste", "dying to see you", "my everest", "dream journal", "spring day", "blush", "anastasia", "ecstasy", "breathing colors"

ALBUM REVIEW: Dog Collar - Turbo Squid

Full of punk spirit, Dog Collar's Turbo Squid is a frenetic, feverish journey through electronic music.

Reviewed by Ash

AUTHOR'S NOTE: As always, please remember to support Dog Collar by streaming, or even better, purchasing this album! I've provided links to the project on Spotify, Apple Music, Soundcloud, and Bandcamp.

LAST WEEK, I FOUND MYSELF very excited to review Kid Reno's Techno for Children and Dogs, a record which I rapidly fell in love with over its diverse, intensely creative, utterly head-spinning production. (Feel free to read our full review of Techno for Children and Dogs, attached here!) Imagine my surprise when I found out that Dog Collar a.k.a. Sunil Prabhu, who can invariably be found by Kid Reno's side during their joint live performances, had also released a concurrent album. Going in, I hoped that Dog Collar's Turbo Squid would follow and expand upon the strengths already showcased in Kid Reno's latest LP, as well as those in his own previous release, sunil album 3, released back in May. Additionally, I was eager to compare the two producers and unpack the musical ideas they share in common, while also interrogating how they each pursue their own distinct artistic journeys.

After listening through a few times, I'm pleased to say that Turbo Squid gave me all that and more. With nine tracks and 38 minutes of runtime, Dog Collar gives himself enough space to fully flesh out and explore each and every musical idea on the record; no one track is shorter than two and a half minutes, and I was never left feeling like a song had ended too soon. In my Kid Reno review, I had previously commented that Techno for Children & Dogs sounded like it was made for the dance floor, and while that is still true, it also had its fair share of meditative, chilled-out, and even peaceful moments amidst all its dance and techno influences. On the other hand, Turbo Squid brings a nonstop frenetic energy that doesn't let up for the entire album. The tracklist is stuffed with bangers that would feel right at home blasting out of massive speakers at a nightclub somewhere. Dog Collar wants you to headbang, and he doesn't want you to stop for a moment until the album is done and you're utterly spent. While I will readily admit to not being especially familiar with Dog Collar's brand of ultra-energetic, serrated, hard-edged dance music, this album provided a unique experience I'm not likely to forget anytime soon.

 The dynamic duo, Kid Reno (left) and Dog Collar (right), putting on a joint live performance together.

Our first taste of the album comes in the form of desolate, distant synth leads over manipulated robotic voices in the opening track, "Eye in the Sky". Soon enough, a frenzied, chaotic breakbeat enters as the chords develop a decidedly ominous tone and a high synth arp starts subtly lining the chords. A wubby slide bass and diverse drum fills define the next section of the track, which seems to have the ultimate goal of inducing spine-breaking levels of headbanging in the listener. The vibes are very hard-edged and punk right out of the gate, which I love; the track's dusty-sounding snare samples and heavy, modulating bass repeatedly recur throughout the record, keeping the punk vibes going strong. Despite the record's heavily electronic sound, Dog Collar has managed to utterly capture the spirit of punk on this record, which is something that caught my intrigue right away.

"Very Tired" sees various computer machinery sound effects giving the intro to this track a bit of an apocalyptic cyberpunk aesthetic that I thought worked really well with Dog Collar's sound. Cool reversed drums and a growling bass orient us by giving us a sense of rhythm before the breakbeat enters. The reversed drums lend a really cool sense of movement to the track, and the track undergoes some subtle rhythmic changes headed into the second half that constantly feed the listener something new to fixate on. Dog Collar continually switches up his drum patterns and breakbeats for a truly dynamic soundscape, making it so that I, as a listener, was never bored. We even get this interesting, Atari-sounding bitcrushed synth arp towards the back end of the track that I thought was a really great piece of sound design and sound selection.

Two kick drums and a rubbery bassline make for an especially funky and danceable vibe right away on the following track, "Multi Split Scan". An offbeat, acoustic-sounding snare and warm analog synth pads further cement this vibe; even when the track undergoes a bit of a mood switch and the chords become more dissonant, the vibes remain funky. We get a true beat switch at the song's halfway point, when the track changes key and the drums go half-time over a sick, oscillating bass patch that gives the resulting soundscape a significantly darker, green-tinted vibe. You could have told me that this whole song had stepped right out of the soundtrack for The Matrix and I wouldn't have batted an eye; it really is that good. Dog Collar's work with drums and synthesizers on this track combined with killer bass melodies make this one of my favorite instrumentals on the record.

Sampled Gregorian chanting forms the foundation of the instrumental to "greg"; Dog Collar manipulates the various vocal chops in interesting ways to create a layered melody with a lot of rhythmic movement. The choppy breakbeat and subtle sub bass adds a distinctly menacing vibe. The chops become increasingly digitized and robotic-sounding in the track's middle section, where the drums drop out to let us focus on the increasingly mangled vocals at the center of the song. Like Kid Reno's "YOU CAN'T KILL THEM ALL_145", this track really made me develop an appreciation for Dog Collar's talents as a sampler and manipulator of audio.

Thankfully, the impressive sampling work doesn't end there, as a sped-up, chipmunked pop sample forms the heart of the next track, "froufrou". Dog Collar's added drums give the sample an interesting cinematic tilt; I really like the sound selection for the drums on this track in particular, as the super punchy and powerful snare feels like a natural fit with Dog Collar's established sound. The regular-speed version of the sample occasionally surfacing is also a really nice arrangement touch, and I love the moments when the vocals poke through the mix and come to the front before then once more being submerged beneath the insane production. As the track continues, the offbeat groove becomes supplemented with saw melodies and a trap-style 808 bass. I don't quite know how to articulate the mix of emotions that the pop sample and frenetic, hard-edged production makes me feel, but I think it's a really nice combination and it certainly made for one of the most unique and enjoyable listens on the record.

"Revolutionary Girl" brings more sampling trickery as we get stacked and manipulated choral vocal samples. About a minute in, a growling, distorted synth bass appears that mimics the vocal melody in cool ways. The amplitude-modulated lead synth that enters at the track's halfway point is also a nice touch that furthers the wild spirit of this song. Dog Collar also gives us a new arrangement of the vocal sample shortly afterwards, with the rest of the synth parts updated to match. Dog Collar's melodies really shine on this track, as everything comes together to create a thoroughly feverish and energetic experience that is sure to fuel many dance floors to come.

On "Praise Dobbler", a really richly textured, warm analog pad plays seventh chords under a slightly bitcrushed lead vocal before an insane, uptempo drum pattern enters. Despite the breakneck tempo, this song has a relatively chill atmosphere compared to others on the album, and the synth pad and vocals go together perfectly. We slow down a little bit when the drums go halftime, giving us a brief moment to breathe before we kick back into full speed. I don't know if I'd exactly characterize this track as "relaxing" in isolation, but in context with the rest of the record, it's a little calmer and I appreciate the unique vibe it cultivates very much.

The final two tracks feature the only guest performer on the record, alsoknownasrox—whom I assume helped out with the production. "Turbo Track" opens with an African-sounding bongo pattern under an orchestral string sample, which lends this track a heavily cinematic feel. Soon, chopped-up rap vocals enter, broken up into various chunks that are then scattered over the arrangement in interesting ways. A reversed lead synth and harmonically-rich synth bass continue feeding the listener interesting things to hold onto. I also love the incorporation of what sound like subtle guitar power chords; although mixed very low, whatever that particular sound element is, it works perfectly in the context of the full song. As the track enters its final act, rich strings return, playing an ascending melody; the vibes of this track are unmistakably large in scale and cinematic at heart. Truly one of the most turbo tracks of all time.

Dog Collar doesn't make us wait long for the sequel, since "Turbo Track Two" follows immediately after as the final track on the album. It begins with an expansive-sounding organ sample over pounding, tight kick drums that modulate and change timbre as the song goes on. The drums drop out a bit later in the track, replaced by chimes that make for a momentary break in the action, leading us into a clean, simple breakbeat that ends the album on a more muted note. As much as I respect Dog Collar's decision to not go super maximalist just because it's the last track, I do wish the track carried a little bit more dynamism and variation. Maybe it's a factor of its length; at only two minutes and thirty seconds, "Turbo Track Two" doesn't get anywhere near as long as the other tracks do to develop and progress its musical ideas. Either way, though, the ending track wasn't my favorite, though it didn't take away from my enjoyment of the record too much.

Speaking of my enjoyment of the record, in case it wasn't clear already, I really like this album. Coming into this album fresh off of having just fallen in love with Techno for Children and Dogs made for an interesting experience as well, as Dog Collar gives us something significantly more wild, intense, and punk that nonetheless also demonstrates a really solid and well-rounded skill set. His acumen for melodies, arrangement, sound design, sound selection, drum programming, and general creativity are all on display in full force here. The LP feels very cohesive; similar sound selection and production choices run through all nine tracks, generating a very strong feeling of being pulled firmly into Dog Collar's universe for 38 minutes. The album feels like a condensed package of potential energy; the sheer amount of forceful potency and wild exultation radiating from the music make it a thoroughly memorable, albeit very intense, listening experience. I can't wait to hear these tracks live; at the next Dog Collar/Kid Reno live show, look around, and there's a fairly good chance you might see me very much enjoying myself!

Personal enjoyment score: 8 out of 10

Standout tracks: "Multi Split Scan", "froufrou", "Praise Dobbler", "Turbo Track"

SINGLES SPOTLIGHT: October 2022 - Deadbeat Girl, _st1cks, nickwuh

Deadbeat Girl, _st1cks, and nickwuh are in top form this month.

Written by Ash

AUTHOR'S NOTE: This article has been updated to include the link to my recent review of nickwuh's us against the universe, which had not yet been published at the time of this article's release.

Hi everyone! Ash here. Welcome to the first installment of Singles Spotlight, a new short-form review series focusing on some of our favorite MTech singles of this month. In future months, we'll try and keep it to just singles that have been released during the month in question, though since this is the first installment, we hope you'll forgive us if we play a little catch-up!

Unlike our album reviews, we won't be issuing scores for these singles. The whole point is to pick our favorites, so we plan to keep the positivity and good vibes rolling. We hope you enjoy the first installment of this new series, and we hope you love the songs even more!

Deadbeat Girl - Another Day

This track can be streamed on all platforms, links to which are included in Deadbeat Girl's Linktree page.

 

One of the most widely acclaimed tracks from last semester's Collegium Seminar listening sessions finally got an official release last month. I first heard "Another Day" in a Spring 2022 listening session in the Frederick Lowe theater, and I remember being amazed by the strikingly anguished vocals and sheer amount of raw energy on display. The track deservedly made quite a splash amongst us MTech students, and I remember people all around the eighth floor variously bringing up the track in tons of different conversations, mostly to comment on how well-executed it was. It's rare that a Collegium track generates such buzz amongst the MTech community, but this one had people talking about it for days afterwards, and it left me truly excited as to what was to come next.

Well, I'm pleased to say that upon its official release, Deadbeat Girl's debut single sounds just as incredible as it did the first time the world heard it. Deadbeat Girl, or Valentina, as she is known to most MTech students, delivers an inspired and impassioned vocal performance that manages to sound heartbroken, traumatized, and disconnected all at once. Her performances strikes a truly impressive balance between screaming despair and laconic apathy. Her lyrics ("Sometimes I wear your jacket to remind me of your skin") cut deep, buoyed at first by reverb-heavy piano licks, and later on, crashing pop punk guitars. The production and mix somehow manage to sound thoroughly professional without losing any of the song's raw, frenetic energy and rough-around-the-edges aesthetic. The song's final chorus, when the vocal harmony layers explode and Valentina raises her voice to a tortured almost-wail, is truly something to behold. The pathos behind the track shines through—so much so, in fact, that I find myself shying away from putting this track on unless I feel mentally prepared to be a little sad for a while. Aside from that, though, "Another Day" has cemented itself as one of my favorite MTech singles of the year. I can't wait to see how Deadbeat Girl follows up such an utter success of a track!

_st1cks - crt

This track can be streamed on Soundcloud and Spotify.

 

Next on our Singles Spotlight, we have a new solo release from _st1cks, also known for his involvement with the hyperpop group Webcage. This release, named "crt", landed on Spotify on October 21st; I caught the track in my Release Radar as soon as it dropped, and I've found myself very much enjoying the track over the past few days! As the track opens, we get a sparse yet bouncy drum pattern over a blippy lead synth and a thick 808 bass. The beat feels like an interesting take on the stylistic sensibilities of artists like Yeat, Ken Carson, and Lil Uzi Vert, though this instrumental is definitely more sparse and laid-back in its presentation. _st1cks himself employs a detached, somewhat disaffected vocal performance through thick autotune. The apathetic vocals synergize perfectly with the lyrics, which point to a kind of existential frustration that captures the sometimes-directionless miasma of early adulthood. Ordinarily, I wouldn't pick such moody lyrics to go over such a synthy, electronic, trap banger of a beat, but _st1cks's vocal performance sells the sense of detachment and apathy so well that it makes it work. The end result is a track that successfully straddles the border between banger territory and chill vibes. Definitely an interesting vibe that I expect to see in regular rotation on my Spotify playlists for quite some time. We hope _st1cks follows this one up with something just as ear-catching!

nickwuh - Shallow (feat. haz & Luoe)

Stream this track on Spotify, Apple Music, and Soundcloud.

 

I just got done reviewing nickwuh's recent solo album, us against the universe (a review which you can read here). Without spoiling too much, I really enjoyed that project and found myself very much looking forward to this new single release. "Shallow" features performances from Luoe and haz, both of whom appeared on us against the universe, and the three singers turn an inspired final product that both calls back to the sound of the last album while also pushing it forward. Shimmery acoustic guitars and a tender falsetto vocal performance from Nick open the song. Nick's formant-shifted vocal performance on the first verse is expressive and full of feeling, as the processing grants him a Brent Faiyaz-like timbre that he bends through autotune and a vinyl-flavored vocal chain. We get an EDM-style drum buildup to the chorus, where Nick's breathtaking falsetto returns, this time supported by doubled synth and guitar chords over trap drums and thick 808 sub bass. The choral backing vocals that punctuate parts of haz's second verse are very nice, and the brief d&b-inspired break was an unexpected but pleasant surprise. Nick takes the next chorus in his chest voice, climbing ever higher and delivering powerful, raw high notes. I catch some shades of emo trap songwriters like Aries and Gashi in the song's laconic, guitar-based production, as well as Nick's heartfelt vocal performance. Luoe turns in an R&B bridge that shows off his excellent vibrato and vocal control over ominous, dark sub bass and synth passages. We go double time at the end of the song in an utterly sick breakdown that merges Phrygian-style flat seconds with huge guitar chords, insane drums, and metal screams. If this is the first taste of nickwuh's next project, then it's a damn good one that continues his consistent elevation of his own craft.

That's all for this October's Singles Spotlight! Stay tuned for the next installment in a month's time, and remember to check out all the artists we highlighted in this edition and support their art!

Until next time,

Ash 

ALBUM REVIEW: Kai Banda - Nori

Kai Banda's Nori showcases interesting ideas in a bite-sized package that places jazzy production front and center.

Reviewed by Ash

AUTHOR'S NOTE: Before reading this review, please support Kai Banda by streaming the album. The project can be streamed on Spotify, Amazon, Apple Music, and Soundcloud.

I WILL BE THE FIRST to admit I did not discover Kai Banda organically. Instead, I happened upon a Collegium announcement from Isabel highlighting some of Kai's recent releases. (See?? This is proof that Collegium announcements and NYU Brightspace ARE good for exposure! Try it out; you just might get a review written about your music.) The NYU MTech Music Reviews blog was but an unrealized idea I'd been lightly toying with at that point in time, but once I started writing my first reviews, I came back to Kai's music and figured I'd take a crack at reviewing it for real.

Released alongside Album 4, a titanic project that carries 51 tracks and two hours of runtime, the 17-minute Nori appears like somewhat of a small fry in comparison. However, it was for this exact reason that I chose to enter the world of Kai Banda through Nori first. I hoped it would offer an enticing glimpse into Kai's universe and give me, a new listener unfamiliar with his music, a solid sense for what I could expect from the rest of his discography, and in that sense, Nori definitely made for an interesting listen. I'd be hard-pressed to categorize the sound of this album; the LP is simply categorized as "alternative" on Apple Music, which I felt didn't do nearly enough justice to the consistently jazzy, mellow, and austere soundscape that imbues this record from start to finish. While Kai gives us plenty of vocal performances, his voice is almost like garnish, and the instrumentals are almost always the spotlight of the LP. Though this record is short, composed mainly of tracks under two minutes in length, it marks its brief runtime with a musically creative, diverse selection of musical ideas; straddling the line between songs and demos, these tracks read like little windows into Kai's creative process, showcasing a promising collision of production chops and musical feel.

The opening track, "Just Got Back From Boba", opens with warm Rhodes keyboards under halftime R&B drums and soft, whispery, layered vocals. Soon enough, we break into a synth solo, led by a funky analog lead part that solidifies this track's retro leanings. A rich, expressive piano part enters soon afterwards. Everything is performed with a precise yet skittery & staccato feel that showcases Kai's impressive skill as an instrumental performer with an instinctive understanding of funk and complex rhythm. The mixing on the track sometimes results in the vocals becoming slightly buried, but the mellow vibe and well-constructed, human-touch-laden instrumental is undeniably the track's greatest strength.

"Halloween" opens with an endearing, DIY-sounding acapella demo that sees Kai working out the verses of the song. Soon after, electronic, punchy 808 drums enter, followed by retro '80s FM pianos, sweeping pads, and warm analog synth chords that perform a progression that repeatedly modulates back and forth between minor and major in interesting ways. More overt trap-style hi-hats enter in the next section, which are de-quantized and nudged just enough off the grid to preserve the organic and human feel of the instrumental. Kai's vocals are soft and understated, never fighting for the spotlight, which works well for the track's mellow yet catchy chorus.

A wubby, sliding synth bass and warm pads introduce us to "Dominoes", soon followed by funky house drums. Kai delivers spoken rap verses with a quiet swagger and vocal delivery that reminds me of Madonna's "Vogue", solidifying this track's '90s house vibe. The subsequent "Know Where" completely switches up the vibe, though, as jazzy pianos and intricate vocal harmonies come together over muted, reverb-heavy drums. At just one minute long, this track really left me wanting more.

Kai Banda puts on a public performance behind the keys in the above photo.

"Closer to You" features a huge snare amongst a sparse drum groove, rounded analog synth fifths, and a massive synth bass that solidifies this track's edgy rendering of retro synthwave. This is another shorter track that in my own personal opinion feels like it's missing a strong chorus to really bring it home, but as a short musical idea, it makes for a cool listen.

"Sneak Out" has no vocals, being a purely instrumental endeavor, and features one of the most interesting melodies on the entire record, along with an insane chord progression I couldn't wrap my head around at all. Ominous, slightly dissonant repeating pad chords play slowly in the background while a plucky lead synth plays an off-kilter melody. High electric piano chimes and a crazy, sliding, reverbed bass further add to this track's slightly demented horror aesthetic. The ambiguously tonal, dark yet chill atmosphere makes for an interesting experience that showcases Kai's talent as an instrumentalist and musician with a great sense for writing complex chords and melodies.

"In My Own Way" carries funky piano chords over a pseudo-disco drum rhythm, resulting in a sound akin to a jazzier Donna Summer. Kai's vocals are particularly well-suited for this vibe; not overly corrected, his vocals are left with a lot of room for microtonal nuances and moments of human expression, and the harmonies are great. In contrast, "Going Through" employs a slanted, off-kilter drum pattern with exotic, extended electric piano chords, creating a distinctly jazzy vibe under doubled vocals, almost like a jazz fusion with '90s boom bap. The fully instrumental "PLD" marks a total vibe switch, as we get distinctly modern-sounding, cavernous synth chords under shimmering, downtempo trap drums to create an atmosphere of swirling psychedelia. This is a track I really wish was longer. Kai's fleeting foray into trap music brings his jazzy chords and interesting sound selection and maps it over a totally different style in a way that I thought was intriguing and extremely well-executed. Some strong rap verses over a beat this good would almost surely make for a powerhouse of a track.

The album ends with "LT", wherein piano opens the song on a pleasant, shifting jazz progression. Sparse, slightly noisy '90s R&B drums and a high lead synth give this track almost a G-funk, Dr. Dre-esque aesthetic. I found myself itching for Kai to bust out another rap verse, but no such luck; he is more than content to let the instrumentals have the limelight.

 Overall, as a short collection of songs, Nori is an attractive and exciting look at a talented and savvy producer doing what he does best. Kai manages to communicate a wealth of instrumental ideas and inspired production in a tight, 17-minute package that left me itching for more. The R&B and jazz sensibilities at the root of Kai's production continually manifest themselves throughout the record, I feel that this decision was a really good one. The first two tracks feel like the album's only "full" songs in the conventional sense, but that's not a detraction from the rest of the record. My biggest complaint with the album is merely that a lot of these one to two-minute songs are so good and so promising that I wish they were longer, more structured, and fully decked out with verses, choruses, bridges, solos… but ultimately, that's not what this album is about. Perhaps the concurrent Album 4 will scratch the itch for more Kai Banda, and Nori is an exciting preview into what awaits deeper in his musical catalogue.

 Personal enjoyment score: 7.5 out of 10 

Standout tracks: "Halloween", "Dominoes", "In My Own Way", "PLD", "LT"

ALBUM REVIEW: Kid Reno - Techno for Children & Dogs

On Techno for Children & Dogs, Kid Reno showcases innovative production and über-creative sampling work.

Reviewed by Ash

 

AUTHOR’S NOTE: Before reading this review, please support Kid Reno by streaming or purchasing the album. I’ve provided links to the album on Spotify, Soundcloud, Apple Music, and Bandcamp.

IF YOU'VE SPENT ANY significant length of time hanging out on the eighth floor of the Education Building, or attended any Collegium Seminar meeting this semester, chances are you’ve crossed paths with Kid Reno. With skills in everything ranging from Max MSP to film soundtracking and live DJing, Reno is a multidimensional artist who pushes the boundaries that define the limitations of the role of the producer. He has a large portfolio of work across Soundcloud, Bandcamp, and streaming services, and frequently performs live DJ sets both solo and alongside fellow MTech student Sunil Prabhu, known in musical circles as Dog Collar. Suffice it to say, Reno’s skill set is vast, his involvement with the MTech community is deep, and his music reflects that diversity and depth as well.

With all this in mind, I found myself very excited to learn that Reno’s latest LP, Techno for Children & Dogs, had been released on Soundcloud at the tail end of September this year. I admittedly did not get around to listening to the full LP until it appeared on Spotify earlier this week. What I got was everything I’d expected from a Kid Reno project and more: twelve tracks, totaling 33 minutes of runtime, showcasing insanely creative sampling, head-spinning production, meticulously-crafted sound selection, all culminating in a tightly focused, frenetic package that seems purpose-built for DJ clubs and dance floors. When listening to these tracks, the mental image of flashing nightclub lights and crazy Max MSP visuals is remarkably easy to conjure. The performance aspect of Kid Reno’s music permeates every fiber of this LP—not to say that the music can’t be enjoyed on its own merits, of course, because the songs themselves are excellent in their own right. At the end of the day, the sheer creativity that went into crafting Techno for Children & Dogs is plainly evident in every breakbeat, every chopped sample, and every piece of synthesis, resulting in one of my favorite projects released by an MTech student in recent memory.

 

A snapshot of a typical Kid Reno live performance, this one in collaboration with Dog Collar (a.k.a. Sunil Prabhu). Photography by Alex Ehasz (@square_enigma on Instagram).

We begin with “SINGULARITY 84_4”, which opens the album with a menacing vocal sample mangled just beyond the point of intelligibility. The trippy vocal chops and pulsating synth arpeggios create a dark, not-quite-but-almost-’80s cyberpunk vibe. After the track builds for a couple minutes, we are rewarded with pounding breakbeats and rumbling, reverb-heavy kick drums that open the album with quite the fireworks show. It is clear from the get-go that Reno wants us to headbang, and I found the frenetic energy that infused this track to be quite infectious. On first listening, I came out of “SINGULARITY 84_4” very much looking forward to what the rest of the LP would bring.

Given how electric and frantic the opening track was, I was definitely a little surprised by the second track, “REDEYEBROWS135”. Reno crafts an elaborate soundscape composed of ethereal synth bells over a tight, rounded synth bass and a drum groove that calls back to ‘90s house and dance music, making this track somewhat more chill (but no less danceable) than its predecessor. The track’s aquatic, echoing middle section employs wubby kicks and heavy delays & reverb that make excellent use of the entire stereo field. Listening to this track with headphones on for the first time was a truly otherworldly experience, though it was also one that I hope will be eclipsed by the experience of seeing this performed live for the first time. In my own experience, it’s generally a somewhat rare occasion when I fall utterly in love with a track on first listen, but “REDEYEBROWS135” was the exception for me, and it’s cemented its place as one of my favorites on the whole LP. The laid-back, underwater dance vibe of this track is immaculate, and I expect to see it in regular rotation on my Spotify from here on out.

 

A taste of Kid Reno's distinctive, trippy visual style.
 

The aptly-named “two violins named gabriel 85” returns to banger territory. The track is based around a sample of strings, chopped and processed in various ways that make them almost unrecognizable. Reno employs filters and envelopes along with a ton of really creative sampling trickery over a relentless, chugging drum groove. The track becomes decidedly demented by its end, and the segue into “DDS” comes at a perfect time, just before the music becomes overwhelming. “DDS” itself sees smooth, sliding pad chords mixed with crunchy drums and strange panning sound effects to create a simple, yet constantly shifting groove. Acoustic drum samples are integrated seamlessly with distorted hits and mangled percussion, once again showing Reno’s penchant for selecting just the right sounds for every vibe. This is the first track on the album that really left me wanting more; at just two minutes and seven seconds, my only complaint is that I wish the track was longer.

“LUCY” is another shorter track, based upon a mournful piano riff and a vocal sample that is variously reversed, pitched, and time-stretched. There is no headbanging to be found here; instead, “LUCY” makes for a fleeting moment of meditativeness in a record otherwise thoroughly devoted to the pursuit of dance and insane sounds. However, Reno doesn’t break away from the dance floor for long, as “ZENITH148” really showcases Reno’s innate feel for programming drums. A powerful voice declares “my name is Zenith” over a breakneck groove of syncopated drums. The percussion work here is truly outstanding and places this track among my favorites on the record. The groove never feels static, the rhythm is pounding and relentless, and there is no shortage of ear candy upon which the listener can fixate. The good times don’t stop there, though, as next, we get “TVSTATIC131”. Drill percussion rhythms over a synth steel pan riff that sounds like it could have stepped right out of the Mario Kart soundtrack combined with trippy sampled vocal harmonies and crunchy static samples repurposed into drums make for a truly inspired one minute and nine seconds of music. If there ever was a track that deserved to be longer, it’s this one.

 

Kid Reno and Dog Collar performing a live DJ set. Photography by Alex Ehasz (@square_enigma on Instagram).

“BUBBLEBOUNCE169” is another aptly-named track, incorporating popping bubble noises in pursuit of creating one of the record’s craziest drum grooves. This is another track best heard through headphones, as the insane synth chops and panning arpeggios make for a spatially trippy listening experience. The following track, “SP33D”, showcases Reno’s mastery of filters, which he uses to great effect during the track’s long slow burn opening. Heavy kicks go along with chaotic, yet controlled percussion and killer synth riffs to create one of my favorite tracks on the album. The vibes here are dark and frenetic, and Reno’s production and mixing work keeps the track consistently entertaining. There’s truly never a dull moment on this record, and “SP33D” showcases that characteristic particularly well.

If you thought the rest of the album was danceable, just wait until you hit the tenth track, “ORWHERE135”, which employs a shifting, filtered sample and a pseudo-Miami bass drum pattern to create a track that feels especially well-suited for the dance floor. Clanging, metallic percussion collides with 808-style claps to give this one a somewhat charming, if slightly off-kilter retro vibe, like the track just stepped out of an alternate reality, demented version of a ‘90s dance club. In contrast, “YOU CAN’T KILL THEM ALL_145” shows off Reno’s total command of the intricacies of sampling, as he converts what sounds like a 1950s barbershop quartet into a pounding banger with heavy trap 808s and ticking percussion. Reno even lets us follow along, first playing us the unaltered sample before slowly taking us through the process of chopping it up into the pattern that lays the foundation for the rest of the track. It was truly entertaining to be able to follow along and observe the sample being manipulated on my first listen, and I think it added a lot to my enjoyment of the track.

 

As a viewer, it's always obvious when you're looking at a Kid Reno visual. 

For the purposes of this review, I also checked out the currently Soundcloud-exclusive bonus track, “JERSEYBIRDS”. This track is an interesting one, being based around eerie manipulated bird samples with creative delays and filters. Trippy, chopped almost-drums give the track a definite sense of movement. Atonal and almost entirely rhythmic, this track is a relatively chill, yet unsettling oasis amongst the rest of the songs on the record. If nothing else, the calls of the birds speak to Reno’s skill in sampling and sample manipulation.

The final track, “CHAOS”, sees a sampled narration discussing the nature of heaven and hell over spacey synth pads. The track almost fooled me into thinking Reno was going to close out the album on a mellow and understated note, but soon enough, the crashing St. Anger snares and pounding drum groove proved me utterly wrong. The record goes out the same way it came in—with a bang.

 

Reno and Sunil share a moment of levity together during a live set. Photo by Alex Ehasz (@square_enigma on Instagram).
 

Suffice it to say that Techno for Children & Dogs is one hell of an experience. It’s a unique body of work that carves itself a distinct niche not just amongst MTech students, but in the greater landscape of DIY electronic music as a whole. Its innovative production techniques and creative sampling result in a thoroughly entertaining album experience in which Kid Reno harnesses a veritable galaxy of different sounds, energies, and vibes to create something truly remarkable. I have almost no complaints with this album outside of a couple of tracks (looking at you, “DDS” and “TVSTATIC131”) that I wish were extended out a couple minutes longer. Nonetheless, Reno crafts an impressive variety of distinct vibes, moods, and aesthetics that come together to create an amazingly cohesive body of work that will undoubtedly fuel many dance floors to come. Techno for Children & Dogs is ultimately a masterclass in sampling, audio manipulation, and production insanity that I feel I can learn a lot from as a musician. I eagerly await the many dark and demented places Kid Reno will take us to on his next project, though I have a feeling I’ll be content to enjoy this one for quite a while.

Personal enjoyment score: 9 out of 10

Standout tracks: “REDEYEBROWS135”, “DDS”, “ZENITH148”, “TVSTATIC131”, “SP33D”, “YOU CAN’T KILL THEM ALL_145”

AUTHOR’S NOTE: Just another friendly reminder to support Kid Reno by purchasing or streaming the album! I’ve provided links to the album on Spotify, Soundcloud, Apple Music, and Bandcamp. Additional thanks to Alex Ehasz for providing photos for this article. Please check out their photography on their Instagram page @square_enigma.