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1 of 1 people found the following review helpful:
5.0 out of 5 stars
Kid 606 delivers a lovingly intimate album, of lush melodies, and reflective moods....!!!, November 8, 2005
Kid 606 has made a career out of being something of a noisenik, creating albums of rapid fire fractured beats and intense rhythms, that battered the listener into submission. And such was his way with being such an accomplished producer, that later albums, although having that volatile and aggressive mix of hardcore techno and experimental sounds, had the occasional 'softer' more inward looking tracks that recalled some of the more subdued moments in acts such as: 'The Orb', 'Orbital' & 'Leftfield'. There was obviously more to Kid 606 than just successive punishing beats, as his "P.S. I Love You" album was indeed a complete turnaround from what he was known for, and instead was a contemplative and slightly detached Ambient Techno, and IDM album that (although dividing his fans), was proof that Kid 606 could produce a stripped down and elegantly textured album, as well as similar artists like "Aphex Twin" & "Squarepusher", who mix up their albums with energetic no-hold beats & soft melodic ambient tracks.
"Resilience" marks another change in the Kid 606 catalogue, and sits somewhere closer to the more downtempo leanings of his more electronica tracks occasionally dotted around his various albums. It's not quite the ambient affair that "P.S. I Love You" was, but rather a collection of tracks that were created in between albums or commissioned tracks. The mood here, is one of warm electronica, mixed with mellow synthesisers, that probably have more in common with 'Post-rock, IDM & Downtempo'. So tracks like "Done with the Scene" take soft synth sounds and mixes them with soft almost pop structures. "Spanish song" isn't really a Spanish referencing song by any means, but it's intergration of almost warm sounding Latino sounds and a more reflective carefree sound with playful sampled sounds moving in and out of the track. "Cascadia" take synth sounds an weaves unhurried melodies, that grow on you. "Sugarcoated" on the other hand uses sounds that take elements of grooves and deep-bass to make for freewheeling electroncia, that never breaks into a sweat. Whilst "I Miss You" seems to have a decidedly exotica-feel and makes inroad towards an almost introspective feel, that is a miles away from 606's usual thundering sounds, and revels in it's almost minimalist ambience.
This is a record that seems to signal Kid 606's shift away from the (admittedly brilliant) Pounding beats that he made his name by, this is a album that shuffles along, without raising the tempo and mixes cute, almost beautiful tracks with synth noises and tinkly melodies. An album that draws very little from his previous work, and instead it suggests a change in attitude from Kid 606, who seems eager to not be pigeonholed into one genre, as this feels like a far more personal album than his previous work, drawing instead on subtle textures of abstract ambience, that although probably won't immediately impress, will grow on you after repeated listens, as it's too reflective and introspective for it to have an immediate effect. its a collection of electronic tracks that are lovingly crafted, and are arguably tracks that you grow into. it also shows a creative maturity in 606's work, and although the Hardcore Techno fans will find nothing in here, that is deserving of their attention, this album is good enough to bring Kid 606 some new fans (and maybe even convert some old ones). And is probaby an indication that Kid 606 is looking to broaden his musical horizons, because if artist's like "Aphex Twin" & "Squarepusher" can knock out Hardcore albums one minute, and then release smooth cerebral ones then next....then why not Kid 606???, and possibly an album that he's always wanted to make, but never had the chance until now. I have to admit that I really, really like this album, sometimes when I get in late, playing music of a moderately high volume, loud instruments or bass-heavy beats is not an option, when you share a flat. So I find that the more relaxed and somber albums get late night spins. And this intimate and melancholy album is definitely one of my favourties, its a soothingly atmospheric album, that although does present many different ideas within each track, or vary much during the course of it, there are all superbly arranged and extremely beautiful sounding one's at that, and is an album that I find that I fequently reach for. And as much as I love Kid 606's fiery hardcore, I would have absolutely no problems, if he decided to focus on more albums like this. Highly recommended!!
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4.0 out of 5 stars
A mellow kid, November 13, 2007
So, if you're into some mellow electronic sounds (not necessarily Kid 606's other material) you'll probably enjoy this. Good, almost nostalgic sounding tunes, sort of reinventing a lot of the rave music of the 90s and making it a little more interesting. Not a totally engaging album, and not totally essential, but a good one for the quiet times or going to sleep. Well crafted stuff.
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4.0 out of 5 stars
another step in the process, November 9, 2006
It's hard to keep track of artists like kid606 aka Miguel Depedro. Before the reviews of his newest album are in, he's busy polishing up a few more "splits" and twelve-inch imports, and he's three-fourths of the way through two more full-lengths. Impressively, the bulk of his prolific output over the last year comes from some of his earliest work, culled from the nether regions of his five year-old hard drive. Of course, anyone can release their half-worked demos and label them "B-sides, for the fans"; that's where Depedro's other major talent comes in. He's able to cohesively build and pimp a radically different sound on each of his releases -- and remain completely solid for every one of them.
True to form, Depedro veers completely away from 2004's hyperactive, bombastic Kill Sound Before Sound Kills You and Who Still Kill Sound?. Resilience is much calmer and less abrasive as far as sound and sample choices, and just plain "warmer" in a global sense (the orchestration, the mix, the mood and the melodies). Perhaps Depedro's open dedication to his mom on the sleeve is a clue to this serene outpouring, something free from the word "pussy" that she can appreciate while sharing a cup of tea with her son at Sunday brunch (after he chucks his crack pipe in the trash) -- but regardless, it's the most listenable collection in the kid606 catalog.
In addition to subverting fan expectations, Depedro still listens only to his own voice, so of course the disc is universally irrelevant. Spinning off and giving the bird to his legendary breakthrough title (Down With the Scene), "Done With the Scene" rolls over a single flabby-yet-endearing Jupiter melody, complex harmonies and arpeggiating Soccer Girl-style bells and chimes following this single line while the passive drum kit rests unobtrusive against these synthetic monoliths. For the finale, he smirkingly drops the drum machine in favor of marching-band snare and cymbals, as the rest of the piece explodes and falls completely out of tune. Maybe his most catchy track to date -- one whose melody will haunt you as you try to fall asleep -- "Spanish Song" employs a glitch-clap and percussive vocal outbursts over hushed classical guitar textures. Lush orchestral string pulses and found-sound conversations in Spanish (something that resembles a discussion over a game of dominoes in the plaza) give the track a unique flavor. The blazing horn leads remind you that one of the pioneers of modern electronica is at the helm.
On "Sugarcoated" Depedro mixes an Eric B & Rakim drum beat and a few flanged-out sound effects with contrapuntal microtonal buzzing and Dr. Dre squeals. He lets these run their course over seven minutes, making subtle alterations to the patterns to keep you satiated while under his trance. However, he reaches his minimalist extreme in "I Miss You", in which he inspires visions of a (robotic) wagon cart trek across the plains. Here, methodical dumbek percussion loops provide a backbone to a dueling Rhodes duet, only spiralling (relatively) out of control toward the end as mild whistling synth patches soar toward the horizon.
Depedro might have written a bit differently for this chapter, but his stamp is still in place. He keeps you guessing, makes you jump when he says jump (or stare at sunsets, in this case) and refuses to make anything safe. After the initial head-scratching period, the results of his efforts reveal themselves to be beautiful. What else can you ask for? Nothing -- because, in case you weren't counting, that's the cake, the icing and the party hat to boot!
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