Maxmillion Dunbar, “House of Woo”

January 28, 2013
By Bobby Power
As Maxmillion Dunbar, Andrew Field-Pickering funnels post-modern pastiche  through a filter of maximalist enthusiasm, producing some of the most vibrant and ADD-dance music out there. House of Woo, Maxmillion’s second proper LP following a string of rewarding 12″ and 2010′s Cool Water LP, eagerly plows through its dizzying track list with extreme precision and little to no excess fat. That’s not to say these tunes don’t revel in excess, but each point and idea is executed with extreme care and fitting weight possibly only realized on Ryuichi Sakamoto’s “pop” albums.

Some of the sounds contained are arguably kitschy but provide a vibe of carefree glee, recalling sounds from 80s/90s R&B as much as they do cutting edge electronic music of the same era. Field-Pickering bears the weight of the so-called hypnagogic brethren, while keeping the action constantly moving. Tracks like “Inca Tags” and “Kangaroo” would be drugged to near-coma if produced by Dean Blunt and Inga Copeland, but here the tracks keep things optimistic. It’s all about the colors and the sunlight. And you could dance to it if you we’re so inclined.

Elsewhere, Field-Pickering finds textured beauty in open spaces. “For Mozy,” a supposed interlude midway through the album, cleanses the palette. Fluttering effects and quick choral changes could be Daniel Lopatin, but inviting his audience to a mediation rather than recharting paths created by since greats of yore. Surprisingly enough though, Field-Pickering still finds time to let his house tendencies run. “Ice Room Graffiti” and “Loving the Drift” are full-on scorched dance grooves perfect for the L.I.E.S. catalog. There’s no doubt of an end in creativity here, nor a question of ability and technique to make it happen.

RVNG Intl.
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