FEATURED ARTIST *We Hate Records* Chronicles Of Electronicals - ALBUM REVIEW


 

ALBUM REVIEW

We Hate Records - Chronicles Of Electronicals

London, United Kingdom



Credit - Darius Kanuga

We Hate Records sent us their 9 track release titled 'Chronicles of Electronicals'. This is an experimental collection of tracks that are rooted in electronic, EDM and ambient sounds. The album opens with 'Ma Bones', where we're given the beat of a strong kick drum along with a shaker. A melodic key synth then joins with the occasional vocal chops before the introduction of fuller male vocals. "Gotta feel it in my bones" is sung in varying ways on repeat. This track makes so many interesting twists and turns in the productive elements and use of instrumentalisation. Bass synths, strings, 80s-inspired key synths, percussion loops, vocal chops, house-inspired bass rhythms - You name it, I'm sure it's found somewhere in this mix! The vocals take a turn and we're given the vocals of indie rock and when combined with the electronic elements of this track I find it pretty amazing. Their creative flair is incredibly inspiring and has taught me a thing to two about creativity! This track extends to 5:49 in length and holds its own all the way through in its twists and turns. Track 2 titled 'Streets Are Empty' begins on a darker note through haunting bell synths that are full of reverb. The dark feel of the track is enhanced by the long dark reverb sound of the vocals when added with delay plugins. Twangy guitar is present on this track in a distant and moody way. The energy remains its energy through the use of kicks and trap beat drum loops. A really spacey track, full of elongated delay and reverb. Track 3 named 'Nothing Going On' starts with an afrobeat drum loop which offers something new to the project. Really trippy vocal samples are brought into the mix with a funky bass guitar. The track really kicks in when robotic voices are combined with whispers - almost sounding like a fusion of electronic pop and heavy metal in vocal style. The lead guitar makes a smashing feature and in no time we're taken into a whole other side of this group's artistry. Funky heavy guitar, choppy electronics, and almost screamo vocals. Is there anything this group cannot do? Track 4 'The Hatchet' gives me old-school Yamaha Keyboard DJ button vibes. I have a lot of happy memories with those and WHY DID THEY TAKE THAT BUTTON OFF THE KEYBOARDS? anyway, this track is another one that sells the dreamy yet distorted production style that this group owns. There are elements of 80s pop in this track through the use of synths. I got a twang of Micheal Jackson's 'Thriller in the main synth. Bringing something new to the table this track also brings jazz elements through the use of brass instruments. Cool track, this one made me smile. 'You, I, We, Why' opens with a jazz piano progression before transforming into a house bop. The way they make the switch is well clever. This is one of my favorites on this album so far. 'Your Mind's Eye' keeps to the house drum structure but is taken over by indie-rock vocals - Almost a hint of Rod Stewart in vocal style. When combined with the heavy guitar strums and funk-infused bass this track is almost unimaginable until you've heard it. Pure genius. Track 7 titled 'Happy Eye' offers phone dial samples, a heavily contagious drum structure, and sprinkles of magic. The 'Rod Stewart' vocal tone makes a reappearance in this track. The track before last titled 'Breezeblox for the Soul' is a whole other vibe when compared to the rest of the album. The opening bars offer sounds of the ocean and as the sound progresses we're put into a trance through the use of windpipes and dreamy vocal chops. This is a track that has its roots firmly in electronic experimentalisation, it also holds the culture of Native America in its arms. This is my favorite track on the album. Ending the project with 'Clay Pigeon Shoot' we're taken back to the experimental nature found in the earlier track of the album through robotic vocal samples, twangy instruments but also we're given a guest appearance of windpipes once again. This is a track heavily inspired by nature and the use of sound has been carefully crafted to offer a feel of the jungle. There's even an aboriginal feel to the track through the use of a marching drum beat and a didgeridoo sound. A really clever album with all sorts of genre-bending fusion wrapped up in 9 tracks. Well done!