Already receiving acclaim from American bass/trap heads and bassweight-obsessed Europeans alike, EPROM‘s second full length album for Rwina Records, Halflife, is a glorious foray in computer music. This is computer music not in name alone, but that in fact revels in its digital genesis. EPROM manages to call on both murky memories of warehouse raves and bright tugs of video game nostalgia, all tied to the music that surrounded them. Oftentimes a dark, mutating bassline will take the listener through the glistening beeps and clicks meticulous soundscapes; each noise echoing into the distance to create a sense of vast space within the track.
While this is an album that should be consumed whole, there are standout tracks. The foreboding Beasts of Babylon and raw synth assault of Hurricane are the dancefloor favorites, already being played out by the likes of GLK and NastyNasty. Vogel puts Bird Machine to shame, putting to work an aviary-industrial-complex of bird sounds alongside delicate percussion. Machine Skin and Moisture take the listener on a journey, mimicking altered states as they almost lose your attention before jolting you back to a powerful bassline. The bonus track Wizard Island is my current favorite, taking me back to marathon Castle Crashers sessions (yes I was an adult when that came out, sue me).
Halflife has been the most hyped album of the year for the Booms and Claps crew, and for good reason. It’s rare our diverse desires for psychedelia, deep bass, searing synths, and ass-shaking beats are so well-satiated in a single release. EPROM is at the pinnacle of future bass, and Halflife is a must-buy.
Bonus bird-tastic fan video: