Monday, October 1, 2012

The Vision by Joker


          

            This album calls for both fans and critics to forget all of their previously held notions of dubstep.  Those of you who believe Skrillex is the epitome of the “abrasive” genre; you are in for quite a shock.  And for those of you who value to true dub influences, you are in for a treat like nothing you’ve heard before.  His 2011 album, The Vision, was released on 4AD, but he has contributed and released under Kode9’s Hyperdub label as well.  He started in Bristol, England around 2007-2008 and by 2009 he was said to be “king of bass music”.  The album features 12 tracks drawing from the dub, grime, and UK garage sounds.
            The introduction to the album is an atmospheric transportation to another dimension.  It sounds as if he uses nothing but synths on this track, saving the bass for later.  Joker is a master songwriter, and while he uses lyrics infrequently, when he does they will blow you away.  The second track on the album is his single, “Slaughterhouse” which anxiously describes the tribulations of some cattle animal marching to its death.  It opens with a barren symbol and bass beat, which is then complemented by feudal Japanese strings.  The bass does not enter until he starts singing, and serve as a ratification of his anger.  He describes the “machines” and “knives” as some kind of post-modern evil creations of man.  I’m more sympathetic for cows while listening to this song, than any animal-rights activist has ever made me feel. 
            The self-titled track features Jessie Ware who has also appeared on tracks with SBTRKT.  Her somber tone inflicts emotional damage upon the listener; it’s beautiful.  Joker artfully instructs the bass wobble on this track to complement her message of a confused lover, “Can’t be without you, see without you, breathe without you, feel without you, just let me breathe.”  “Level 6” is a funky interlude reminiscent of some groovy late 1970’s non-hit you’d likely have heard in an off-the-beaten-path gay club.  The follow-up, “My Trance Girl” is about the hardest he gets on this album, throwing everything he’s got into this six minute explosion of sound.
            It’s worth a listen for anyone.  Those inexperienced or critical of the genre MUST listen to this is order to truly understand what this type of music is all about.  This what I would call second wave dubstep, surfacing people like Sonny Moore and Blackburner were still in their metalcore phase, not having tainted the public’s opinion of dubstep.

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