Echochamber releases an album full of bass-bin swagger, electro blips and cultivated scoundscapes
Vaporwave is big at the moment. Like Stranger Things big. In part the comparison is part of the success. Stranger Things is one of the biggest television events in recent years. Part of its appeal, as well as it’s pastiche of the 1980’s was the score. Kyle Dixon and Michael Stein took the synth sounds of the ear, and that of John Carpenter, and mixed it with bang up to date production tecnhiques to create something that felt authentic and, at the same time, new and compelling.
Echochamber, on their new album, I’m Real, I’m Here, have done the same. Throughout its seventy minute duration you are confronted with sounds and tones that are familiar, but due to their context and composition they sound fresh and exciting. The use of vocal samples, some of Hip-Hop inspired, others Japanese, in classic Vaporwave style, is inspired and gives the songs a pan-international feel. This also adds to the mystique of Echochamber, as you can’t really put your finger on where they’re from. Mystique is always a great this music, and it is one of the most intriguing facets of Vaporwave.
At times during I’m Real, I’m Here sounds like echochamber is a contemporary side project of Vangelis. The music is full of his distinctive poignant synth lines and elegant composition, but there is that hard-hitting beat, cut up samples that reminds you that this isn’t the work of a 70 year old musician, but instead a synchronous electronic polymath.
I’m Real, I’m Here is another exquisite addition to New World’s already burgeoning back catalogue.
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