Customer Reviews

Apropa't

5 star:		(5)
4 star:		(1)
3 star:		(0)
2 star:		(2)
1 star:		(1)

 

 

Fans familiar with Scott Herren's (a.k.a. Prefuse 73) other works might be surprised with his newest release. In Vocal Studies & Uprock Narratives and One Word Extinguisher, critics were wowed by his innovative and wildly original music. Beats were heavily tweaked, and pops and static were transformed into carefully planned hip hop symphonies. Savath & Savalas is, for the most part, void of all boom-bap. This, however, is not Prefuse 73. Blending an eclectic mix of Brazilian Psych, Afro beat, Cuban, and other South American influences, this album comes off like a Bebel Gilberto album without the pop influences. Much of the album sounds like live instrumentation and it is very difficult to say what was sampled. This is one reason this album will appeal to hip hop heads (How did this guy do this?). It will also appeal to people not accustomed to the sporadic and unconventional beats on some of the more experimental hip hop (Anti Pop Consortium, early Aceyalone). It's hard to say what is so great about the album, but I found myself completely captivated by the first minute of the second track (when the almost hip hop beat drops on a chilling instrumental arrangement). Most of the album is quite delicate, however, and Scott's usual rapid fire snares are replaced by brush strokes. Standout tracks are almost impossible to pick on this album, as the album begs to be played in its entirety (only about 40 minutes). Check out the tracks "A La Nit," "Ultimo Tren," and "Um Girrasol da Cor de Seu" for a few of the more memorable moments. Fans of modern world music will rejoice at both the original and traditional elements this album contains.

Scott Herren, the man who has acquired several musical aliases, is easily one of the most well respected and talented artists making music today. This year will be no exception. Keep in mind that last year saw the release of two highly respected albums, One Word Extinguisher and the quick follow-up Extinguished: Outtakes. With the critical success of both, we began to realize that Herren is not only extremely talented at his craft, but he's also quite prolific at churning out one exceptional album after another. That's quite refreshing when you think about how many of your favorite artists only manage to release material once every two or three years. With Herren, however, it's obvious that he has so many outlets he needs to work through to get his inspirations out on record. Therefore, we get many different projects with many different styles and flavors. Whether it's the glitch-hop of Prefuse 73, the ambient-glitch of Delarosa & Asora, or the sophistication of Savath & Savalas, we're always given handsome insight into Herren's fortitude of sounds.

More times than not, I find myself in amazement that Herren can create a multitude of albums with the same intensity, yet somehow they're always devoid of monotony. The downright awe-inspiring new release from his Savath & Savalas moniker, Apropa't, is arguably some of his best work to date. For me personally, it's my favorite album he's released; and that was concluded after only one listen. It's certainly his most elegant and focused work thus far, while also his most unrecognizable. Ultimately, he's proven once again that his talent and devotion to his art places him head-and-shoulders above the rest of the producers in his field.

Herren spent nearly a year and a half in Barcelona, Spain for personal reasons and in that time became acquainted with Eva Puyelo Muns, a Catalano singer, who lends her vocals to most of the album. The sounds of the culture are prevalent throughout the entire recording of Apropa't. They are sounds of pillow-y soft sophistication and simplicity just on the cusp of floating away. Only on rare occasion, like "Why She'd Come?" and "Victima Belleza," do we find even the slightest subtle remnants of tape manipulation that has become the main element of Herren's work. The rest is sublime placement of everything from classical guitar to harps.

"Te Quiero Pero Por Otro Lado" immediately shows Herren at his most flawless minute on the album. Following closely behind is the introverted tranquility of "Ultimo Tren," which is a rhythmically enticing masterpiece. Also, one of the strongest characteristics here is Herren's ability to be completely subtle with his drum samples. They never take over the songs, but act as a tempo controller. From the start, all of these songs bare a striking resemblance to each other, but are individually strong enough to allow for a perfect listen.

Ultimately, what Herren has accomplished with Apropa't is a collection of songs that pay great respect to Catalano music. Its effortlessness will leave most people extremely happy that they came across this beautiful piece of music. With every consecutive release, Herren seems to raise the bar just a little bit higher for him and his peers. Without question, the bar has been raised yet again; and I can't help but fantasize about where he will go next. Apropa't should be around for quite some time. But while it may be the most unfamiliar work of Herren's discography, it's still one of the year's first great albums.

Now here is a cd that will never reach the masses but one that is utterly original. Complex arrangements that sound effortlessly blended create a sublime atmosphere perfect for a cocktail party, brunch or just hanging out and taking the car for a long drive with the top down. The beautiful cover art and graphics on the insert perfectly match this gorgeous music.

Right on the heels of One Word Extinguisher, G. Scott Herren has given us a masterfull gift with Apropa't. Beautifully combining his Spanish heritage with signature avant beats and combining the vocal talents of his new friend Eva Mun, Herren has accomplished a work of subtle beauty and lush atmoshphere. Herrren has made the best album of his career. This album is for everyone that searches for true and meainingful sound!!

2 1/2

Undercooked electronic experimentation pales in comparison to artist's more beat-driven, thoughtfully layered Prefuse 73. Here, Heron just lazily equates scatter-shot noise, mediocre, redundantly annoying Spanish vocals, and very little semblance of melody with something cutting-edge. It is not. Although the disc does work best inside pocket moments of inspired fusion, on a whole it is a lackluster release, hardly justified buying for anyone but devout fans.

Savath + Savalas' second album, APROPA'T, adds an almost unexpected new element: Spanish vocals. But it's a beautiful addition, one that heralds a new direction for his project. Definitely, the songwriting is much tighter; one could argue that these are actual songs, rather than an evocation of moods that marked his earlier album. "Te Quiero Pero Por Otro Lado" has a sense of drift, but is firmly grounded by Eva Puyuelo Mun's earthy vocals. Even when harmonizing with herself, as in "Colores Sin Nombre," or as the humming gives way to lyrics in the icy, arch "Sol De Media Tarde," Mun manages to bring an unexpected warmth to these tracks. The sunniness shines through on "Por Que Ella Vino?", while darkness reigns on "Victima Belleza." A bold new step, and with firm footing.

It's been a few years since I was so surprised by a musician/band/etc. that I drove straight to a music shop and picked up as many releases as possible. After listening to Prefuse 73's Extinguished album that's exactly what I did. I picked up the outtakes and Savath & Savalas "Apropa't". I have not stopped listening to this record. I put it in my car and it's on repeat. If I have visitors (friends, grandparents, and mail man) they all get to listen to this album. It was a total surprise.

I approached this album with great hopes of sinking my teeth into some great Catalan folk music. But i was disappointed. I listened some more but i was still disappointed. This album rarely resolves into something that doesn't sound like a yellow/grey goo.

The vocals are (vaguely) pretty but too breathy and indistinct for much emotion to be carried. And the music sounds like it has been pulped and reconstituted resulting in bland characterless sound. There is some interesting subtleties - the gentle drum pattering can be engaging.
Overall though an underwhelming experience.

I am a HUGE Prefuse 73 fan, don't get me wrong. I own almost everything he's done, including rare stuff like the Phil Ranelin remixes and Piano Overlord tracks on vinyl. However, I was completely taken off guard with Apropa't. I loved his first project, "Folk Songs for Trains, Trees and Honey". That album gets 6 stars if it were possible: very experimental, weird and has tremendous depth. Apropa't, however, is gruesomely safe. It is a Latin/Bossa Nova method album that does nothing to engage the listener. Although beautifully produced with stellar vocals, the majority of these tracks would be better served on a lounge mix or an Eighteenth Street label compilation. I hope this is not a portent of future things from the WARP label because Apropa't sounds very commercial and non-threatening, which is the complete opposite of WARP's philosophy. WARP stands for "Weird and Radical Projects" and this album is anything but. This will probably be an unpopular review but I call 'em as I see 'um. I understand that Scotty is getting in touch with his Latin roots and I am proud that he is but he just didn't apply himself on this album. I hope he is saving up the "good stuff" for his new album "Surrounded By Silence", which is out on March 21st. Check out the new single "Hide Ya Face" on the Warp website--very tight. I love ya, P73...hope your next album makes up for this one.