I am not wholly educated in electronic music especially not the type which is all about layering different textures of sound over each other with no vocals. However, when Eyptin Wholi e-mailed with an EP review request, I felt that I could maybe dip my toes in.
Born in Portugal, Eyptin discovered electronic music in his teens and began as a DJ at parties. He moved into production in 2005 and has since released four EPs, two albums and three compilations. In 2010, he embarked on a European tour and his track Nok Da Dore was a big hit in Iceland. He has now set up his own record label which will see him release more music throughout this year.
Playground begins with a track called Preliminary For Something Else. The slow violins have an instinctively ominous sound and this is carried through for the entire duration of the short track. The electronic fuzzes which are so prominent on the record make their first appearance too. It runs into Breathe A Sigh Of Relief which was definitely the track that I understood most on the EP. A dark bassline and an ever-growing drone maintain the threatening atmosphere left over from the first track. However when the soft drums arrive, the smoke is lifted and it takes on a more light-hearted style and we can, as the title suggests, breathe a sigh of relief that the dark cloud has gone.
The EP does however return to the weird and slightly disturbing sounds in Past Master, which is quite an alien track. There is a whiney spaceship sound which evolves from a synth drone and eventually finds a soft pop drumbeat. A scraping buzz is added to the mix and some freaky robotic voices can be heard within the quieter sections. There is a lot of layering going on in these songs and this is evidently what Eyptin has worked so hard on for so long.
Playground Techno is begun with a muffled rushing sound and a slow beat. There is a slight African influence in the click of the drums and an engine mechanical sound seems to hum the tune, which I like. It is pretty repetitive and would probably be much better appreciated on a European dancefloor rather than listening to it through a computer. I do love how each texture gradually comes to a close, as the EP drifts into its final push.
Sense Of Oppression begins with the impression that it’s something quite different from the other tracks. It’s an upbeat ambient electropop track to begin with but the familiar fuzz worms its way back in and some haunting church-like backing vocals shroud it in mysterious darkness again.
Although I do appreciate what Eyptin has managed to do, this isn’t an EP for listening to at home. It possibly is because I don’t really listen to a lot of music in this genre but for me, words are often what makes a song. The absence of them is really missed for me. However, someone that is into electronic ambient music may appreciate it a lot more. Indeed, I could tell that a lot of the tracks would be much better suited to a dancefloor than an iPod.