It’s the story of what happens when musician meets laptop. One-man band Iuengliss’ (“I-Wen-Gliss”) Tom Metz offers up ethereal vocals set amongst a backdrop of unpredictable repetitive drumbeats and squeaky keyboard notes. Some of the more obvious (and self-confessed) inspirations are Sigur Rós and Aphex Twins, but electronic lineages to Björk and Underworld would also be true of some songs in this album.
The tunes here are generally upbeat, celebrating possibilities and turns for the better. One of the more notable songs in the album, “Sunrise,” reflects this approach with its cheery lyrics, “hold my hand/let’s take a ride/this world’s yours/so help the sun rise.” It is a song with clear musical nods to Aphex Twin, particularly in Iuengliss’ reliance on manipulated electric drum beats, warbled keyboard notes and repetitive triple drumming set against a heavy bass line. The difference here, though, is in both the approach and the extent of experimentation. Unlike Aphex Twins’ sometimes heavy overtures and electronic/noise challenges (especially in melodies like “Come To Daddy,” which shares a similar, if much faster, aggressive rhythm), Iuengliss’ tunes tend toward hope and celebration.
Metz’s soothing vocals in “Sunrise” fade in over a strong beat: it’s a great contrast, and provides dynamic interest in the song. Another standout in the melody is the great use of manipulated organ tones, and a crescendo that builds through changes in treble values in the bass line. Metz is able to combine different styles skillfully, pulling back to a quiet bridge when the instrumentation threatens to overwhelm. His repeated lyrics offer a trance-like meditation on happiness. Here the message is about an electronic- facilitated human connection.
Another highlight was the purely instrumental, if too brief “Undone.” 1:46 provided a Morse-code like sampling of steel on steel, suggesting some kind of alien communication. A steady bass line ending on a major key underscored the familiar sensation of possibility throughout this album.
Where the album suffered was from songs such as “Worth a Million.” Here, one was greeted with Metz’s by now familiar signature offering of airy vocals, syncopated triple beats, and scratchy synth sounds. Where the track failed was in providing clearer elements of interest and stronger transitions. It was either that approach, or to go for a trance melody. And if it was indeed aiming for trance, the song needed to just go there, instead of hesitating, and ending up in neither territory. Some sections of poorly harmonized electronic vocals, uninteresting vocal bridges and a messy, “more is more” finish detracted from an otherwise promising melody.
All in all, a promising album, and a talented musician well worth listening and paying attention to.
Cynthia Foo, MuzikReviews.com staff
March 16, 2009
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