Review: This is Grindvik's sole release this year, but it has been worth the wait. Supposedly inspired by 'current events, politics, and people in his surroundings', it isn't a typical techno record. "Trails" is an expansive affair, with woozy melodies unravelling over clicking percussion and broken beats. It's far less direct than is normal for the Swedish artist's music, but it also shows that his sound is evolving, not staying in the same place. "The Right To Be Forgotten" is just as left of centre. It too features broken beats - albeit accompanied by sharper, leaner percussion - as well as a sonorous, moody bass that works its way gradually through the arrangement. It's an evocative record from an artist whose development is a joy to witness.
Review: After a release earlier this year for Weekend Circuit, it looks like Par Grindvik has settled again at Stockholm Ltd, his own label. Following on from the Aged EP comes The Game. It's an intriguing release that, like much of the material on the label, doesn't fall into a distinct category. "Wall to Wall" is pared back and mysterious sounding, like a close cousin of Bodycode, while on "Private Life", the Swedish producer delivers a deep, dense chord-heavy affair, its synths murmuring their way over a rolling groove. "Demand" sees a similar approach applied to a more peak-time approach, while on "Front Row (The Game)" Grindvik surprises again, with a mid-tempo groove that features evocative soundscapes.
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