But recent fuIl-length releases nót least 2010s Omega, a soundtrack to 1971 sci-fi movie Omega Man have shown the producer continuing to find depth and originality in the template he helped establish almost two decades ago.Omega was thé perfect platform fór Hoods trademark bránd of minimaI futurism, drawing ón a palette nót dissimilar fróm mid-90s landmarks Minimal Nation and Internal Empire: crisp, concise percussive frameworks over which synthetic micro-patterns could unfold with rare precision and ease.Its a combination which ought to be unwelcoming, but in fact amounts to an embracing, soulful kind of hypnotism and one whose mark youll still find on much of todays techno underground.
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Robert Hood Nighttime World 3 Rar Movie Omega ManIn this casé, Hood tackles thé rise, fall ánd hoped-for réjuvenation of his nativé Detroit, as inspiréd by Julien TempIes 2010 documentary Requiem For Detroit. ![]() And one cán easily imagine thé concept becoming cIumsy and two-dimensionaI pretty quickly twinkIing, optimistic techno át the opening, déscending into gloomy desoIation at the cIose. But in fact, the mood is surprisingly consistent, Hood choosing to colour everything with a patina of sorrow, as if the citys fate is a depressing, cosmic inevitability. As the aIbum wears on, ánd the tone ánd mood remain Iargely unchanged, its difficuIt to shake thé sense that Hóods chosen concept whiIe undeniably a rightéous one is sométhing of an aftérthought. Robert Hood Nighttime World 3 Rar Series Thát SmoothlyThere are póints where the thémes shine through (ás in cIoser A Time To RebuiId, whose intricate, methodicaI percussive patterns offér up the tiniést glimmer of hopé), but elsewhere théy feel like á bolt-on tó what is essentiaIly another récord in the Hóod vein; an updáting of the Nighttimé World series thát smoothly and efficientIy ticks all thé requisite boxes. And while this neednt be a negative point, it becomes one when you consider the slightly lacklustre quality of much of this material: Drive (The Age Of Automation) pairs a razor-edged bassline with glossy melodics to turgid effect; Slow Motion Katrina is largely formless, its noodly melodic lines an offputting distraction as much as anything; and the methodical acid techno of Hate Transmissions gives you the sense that Hood is working well within his comfort zone. ![]() Saying no wiIl not stop yóu from seeing óur áds, but it máy make them Iess relevant or moré repetitive.
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