Deadbeat At Juno Download

Review: Deepchord and Modern Love may have got most of the plaudits for the dub techno revival, but Deadbeat's contribution should not be forgotten either. On Drawn & Quartered, the Canadian producer moves effortlessly between ambience and bassy techno, but his overall approach remains constant. "First Quarter" is a dreamy affair, but sounds and ideas flow in and out of the arrangement at will, as if Deadbeat keeps changing his mind and going off on tangents. On "Second Quarter" this hyperactivity is borne out by the shift from a dubby, drum-heavy groove into a deep chord reverie, while "Third Quarter" does the opposite, starting off with soft-focus melodies before moving into a system-levelling bass techno track.

Review: Canadian Scott Monteith has been making his dark and trippy soundscapes for over a decade as Deadbeat, releasing on some of the industry's most toughened labels such as Wagon Repair, Cynosure and ~Scape. Recently starting his own BLKRTZ imprint, his album Drawn & Quartered served as the label's debut earlier this year. The album remixes now appear as the follow up with "Cala's House" and "First Quarter" under the knife. Deadbeat's original of "Cala's House" rode a long and winding twelve minute voyage through ambient murky beginnings, housey halfway points and an unforgiving techno close. Not an easy track to remix, Efdemin strips back Deadbeat's complex original with a straight forward yet captivating tech remix. Scuba takes hold of "First Quarter"; dramatic piano crashes and cinematic texture kept in place while encased in a damp, echoey layer of spook.

Review: Having traded his pronounced dub leanings for a more Berlin-friendly techno sound for some years, Eight finds Scott Monteith returning with gusto to the fertile creative space his early ~scape albums inhabited. "The Elephant In The Pool" rides on an addictive broken undercarriage, while the reverb drenched FX melt seamlessly into hushed pads of melody, setting the tone perfectly for the album. This isn't a case of revisiting past glories though, as is evident from the surprising vocal treatment and clipped strut of "Lazy Jane". Hold tight for the powerful scope of album closer "The Horns Of Jericho" and just try arguing that Deadbeat hasn't moved on to exciting new pastures.

Review: Canadian producer Deadbeat is predominantly associated with dub techno, but here he surprises. Both tracks have a lighter mood than he usually plies, and see him edging closer to deep house. "ID1" is based on layered drums that shuffle and creak like an old pirate's junk, but which eventually reveals a glorious chord progression, supported by heavy claps. "ID2" is more hyperactive and off the wall; the same type of drum sounds are audible, but they chatter rather than roll, and pave the way for chords with a sweet, summery feel. It's some stretch from Deadbeat's usual glacial techno.

Review: Deadbeat, aka producer Scott Monteith does a neat trick with this two-track release. The A-side "Vampire" is a beautifully layered Minimal tune that shows off Deadbeat's abilities as a producer to the max, using some beautiful ambient atmospherics to conjure up a unique dreamscape. The Vampire Dub on the other hand is a half-speed, 60bpm version of the original that not only captures the unique drum sounds of a bonafide 70's dub-plate, it also makes for an interesting set closer or great transition record too. Fans of minimal tech should be looking forward to getting their teeth stuck in.