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 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: The output on Kenneth Christiansen's sub-label is often as impressive as the releases on its parent - and this is certainly true of Roots. It's the second release by Scott 'Deadbeat' Monteith on Echocord Colour and also marks a change of direction for the Canadian producer. "Put On Your Red Shoes And Trance" is a wiry, tweaked acid-heavy affair that sounds radically different to his usual dub techno style. Similarly, "Just Jackin Around Man" is also unlike the Deadbeat sound. Utilising a pitched-down vocal sample over a driving rhythm, Monteith adds in some rolling kettle drums. The end result is as far removed as possible from Echocord's cavernous signature sound.
Review: Deep, darkly mysterious and ever-so-slightly retro, Scot Monteith aka Deadbeat puts a lot of work into getting his techno-house sound right. Taking the harsh beats of Berlin and placing them under a Chicago house framework might not sound like an ideal pairing but in the first of these two tracks it runs like a dream. Adding a touch of funk and roots reggae vocals to the warm sound of his production puts life into that background gallop. Side two is a little more complex, with syncopated beats and minimal textures creating the basis of a slowly building techno beauty. You thought they didn't make 'em like this anymore.
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.
Review: It is fair to say that Wax Poetic is Scott Monteith aka Deadbeat's most impressive long-player to date. Apart from the fact that he has tapped long-time friends like Gudrun Gut, Thomas Fehlmann and Mike Shannon to collaborate with him, the album is meant to reflect the troubled times that we live in, Despite this, it's a surprisingly mellow work; tracks like "Steve and Fatima" and "Gudrun" are melodic affairs that find their groove in the left of centre house and techno world. Elsewhere, the storied Canadian producer reverts to his trademark dub sound - most brilliantly on the lilting French tones of "Argenis And Cristobal - with thought-provoking, spacious arrangements. If this is the sound track to the impending apocalypse, it suggests that we will all go out smiling.
Keep On Dancing (Shaun Reeves remix) - (7:25) 125 BPM
Keep On Dancing (original) - (9:15) 110 BPM
VQ Infinity Dub - (5:31) 133 BPM
Review: Veteran Canadian producer Scott Monteith has been releasing critically acclaimed records since 2000 and has carefully sculpted an idiosyncratic dub-laden sound that is uniquely his own and instantly recognizable. He returns to Visionquest to follow up 2015's Jacks EP. It's another expression in Monteith's singular aesthetic, using a wide array of arsenal within his sonic repertoire here: from the hypnotic tribal trance of "Boom Jack", to more classic expressions in icy and cavernous atmospherics as heard on "Keep On Dancing" which receives a terrific rework by label co-head Shaun Reeves. Monteith then gets back to the program on the raw and mentalist psychedelics of "VQ Infnity Dub".
Review: Scott Monteith aka Deadbeat follows the Wax Poetic album release from earlier this year with this excellent dance floor EP, also on his own label. While the Deadbeat project is usually associated with dub techno, Waking Life shows that this aspect is only part of the project's identity. So while "A Last Swim" is a wonderfully immersive affair that resonates to layered textures, "A New Sense Of Purpose" sees Monteith deliver his own distinctive version of balmy deep house, while both "Midnight In The Garden" and "A Thousand Shining Stars" focus on the veteran producer's unique interpretations of sleek Detroit techno.
Review: Steel City producer Deadbeat may not be releasing tunes on labels with such irreverent titles as Off Me Nut Records, but he's still bringing the bass like no other. The "Good 2 To Me EP" is pure 3am, hands-in-the-air fodder and we're not complaining. There are three tracks here covering rolling, ravey, bassline ("Good To Me"), Deep wobble nastiness ("Wheel It Up) and dubby brain-melt 4x4 ("Clear MY Mind"). Also featured is Deadbeat's heavy-as-you-like hyper remix of Killjoy's "Nothing Sweet".
Review: Sheffield steel: Deadbeat UK doesn't release his trademark 4x4 fire as often as we'd like. But when he does; You know it's worth paying full attention. "Hustle All Day" works the hype on a sharp vocal sample before dropping into a layered bassline that strips on every riff. "Quick Turnaround" is all about the feet-down funk with its talking bass stabs and crafty sample tickle on the fill. Finally "Bag Head" pokes fun at the tickers with a sick higher toned bass riff that worms and writhes with menacing delight. Don't leave it so long next time please DBUK!
Review: Following on from last year's Waking Life album, Deadbeat aka Scott Monteith returns to his BLKRTZ label for this dance floor EP. He has teamed up with cellist and composer Maarten Vos, but the signature Deadbeat sound prevails on the title track; over a shuffling, tight rhythm, a cacophony of atmospheric textures unravel. Vos' influence comes to the fore on the ambient interpretation of "2020"; while Deadbeat's textured sound scapes are still audible, a droning back drop hangs over the arrangement, lending it an eerie aesthetic that has more in common with a sci-fi movie soundtrack than a dub techno EP.
Review: Given their long individual commitments to the dubwise cause, you'd expect a collaborative album from dub techno type Scott Monteith (AKA Deadbeat) and sometime Rhythm & Sound vocalist Paul St Hilaire to be a formidable proposition. And so it proves, as the duo apply their dub techno credentials to a more traditional dub framework on The Infinity Dub Sessions. St Hilaire is at his beguiling, soulful best riding Monteith's riddims, which veer from floor-friendly dub-house and dub-techno grooves (see "Little Darling" and "Rock of Creation"), to heady trips into more traditional dubwise territory (check the celebratory "Peace & Love" and tumbling "Hold On Strong"). Throughout, there's a loving authenticity that's extremely appealing.