Evocative electronic soundscapes. Met with ethereal and colourful waves of voice. A combination that relays an immersive blend of contemporary pop electronica and surrealist alt-electronica.
The opening contrast between the punchy electronic percussion and the slow fading and buried vocals is immediately grabbing. We’re met with a Thom Yorke-esque kick sound. Dryly creating a pulsing movement that sets up the rest of the instrumental accompaniment. As other flitting percussive and pitched sounds join and embellish this main pattern, simple pad tones are introduced and brought further into focus.
These softer pad sounds complement the vocal delivery perfectly. By creating a bridge between the confrontational presence of the electronic instrumentation, it removes the jarring difference of the breathy lead voice.
As the track starts to lift into more chaotic and developed sections, more cohesion between the two worlds comes into play. Using heavy breathing as a percussive tool with a defining motif. This more engaging utilisation of the voice as an instrument sits perfectly on the line of extended technique and 80s pop tropes.
Recalling earlier Portishead outputs, the electronically supported voice has a dramatic and hanging delivery. Accessible through certain phrases not out of place in a Gwen Stefani. Though unique enough that one could search for and draw lines between this, and certain Laurie Anderson works.
This track could be a perfect find for someone seeking a straighter form of Mezzanine. Or perhaps a more exploratory No Roots. Juliet is an apt marriage of mainstream alternative electronica and art pop.
“Steven Rutter and rising artist Bryonii have been a solid studio pair developing a sound which is organic yet otherworldly, ever evolving and driven by a mutual appreciation of each other’s musical sensibility.
The album makes for honest, emotive listening and is influenced by the likes of Atoms For Peace, Portishead and Grimes amongst others. Their debut album is a sultry, soul infused work with bass heavy bottom ends and weighty rhythms.”
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