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SBTRKT - SBTRKT [Album]

Young Turks

by jeggeredjar, July 15th, 2011 and has been Read 1352 times.
Last Edited by: Chris MUG5 Maguire July 15th, 2011.

Those seasoned veterans of dubstep/garage and fans of ‘post-dubstep’ styles will most likely have heard the name SBTRKT before. The same people would be justifiably surprised upon hearing his songs being played on day-time radio. The self-titled album, is a clear step from the dark misty underground into the commercial spot-light, a step often dreaded and even un-welcomed by producers and fans alike. Not only has SBTRKT, (real name Aaron Jerome), consciously taken this step, but he’s done it bloody well!

SBTRKT is an elusive character. He is known for producing in solidarity and only appearing in public behind that rather ominous African tribal mask, although probably not when popping out to get the milk! He started his discography with several well-produced remixes of Radiohead, Underworld, and MIA to name a few. Although these odd releases here and there were undeniably good, there seemed to be no true coherence behind him as an artist. But SBTRKT seems to bring together, in only 11 tracks, all the vast influences that inspire Jerome, from trip-hop and Chicago house through to garage and dubstep. Not only that but it’s a fusion of the entire UK underground scene and the commercial world. The use of guest vocalists like Sampha give the album a pop taste whilst the careful production, best demonstrated in ‘Sanctuary’, roots the album in the underground domain.

‘Heatwave’ opens the album with a glitchy salute to IDM and entices the listener in with layered vocals and upbeat synths. The mood quickly changes with ‘Hold On’ where a cold xylophone intro prepares the listener for Sampha’s vocals which echo a soulful yet sombre tone over the track. ‘Pharoahs’ is probably the most ‘pop-like’ song with a mish-mash of synth stabs and pads delivering a sort of disco sound with apt vocals supplied by Roses Gabor. ‘Right Thing to Do’ brings the vibe back to a garage theme but stays in line with the rest of the album by interweaving the beautiful vocals of Jessie Ware within the inescapable kicks and wood block chops. ‘Something Goes Right’ again shows off the vocal talent of Sampha with a toe-tapping, 2-Step rhythm accompanied by upbeat chimes and organ hits. ‘Sanctuary’ has to be my highlight, with slow oscillating synths leading into a funky boogie-like bassline that perforates through flying-lotus-esque percussion, all topped off again with Sampha’s distinctive and effortless vocals. The flagship track ‘Wildfire’ is a definite dance-floor filler with a catchy riff and well selected vocals from Little Dragon.

I must admit, this album was tricky to review, not because it was bad, far from it, it was probably one of the most listenable albums I have heard in a long time, but because it crossed so many styles. It seems SBTRKT has still not found his niche, but I don’t think he needs to be idiosyncratic, not when he produces such brilliant songs that span the spectrum of bass culture. His hybrid of genres is almost a summary album of the UK’s underground scene at the moment. It audibly demonstrates where producers are at after the rumblings of drum and bass and the hurricane of dubstep. While many would argue that the move from the non-commercial to the mainstream is often damaging for artists and even genres, SBTRKT has done nothing less than shone light on the scene and thrust it into a new direction that will undoubtedly draw welcomed attention to other grass-root producers.

Clearly the step has worked for SBTRKT; now his songs are the targets of remixes, with ‘Wildfire’ being targeted by none-less than Drake! I can almost guarantee SBTRKT’s successful career has only just begun, and I say good luck to him!