構成数 | 1枚

合計収録時間 | 00:30:09

Audio Mixer: Skrillex. Recording information: The Mothership; The Village, Los Angeles, CA. Nominated for five Grammy Awards, shortlisted for the prestigious BBC Sound of 2012 poll, and courted by everyone from Chicago producer Kaskade to metal icons Korn, former From First to Last frontman Sonny Moore's transition from post-hardcore vocalist to dubstep producer couldn't have realistically gone any smoother. However, despite his unprecedented success, there's still a question as to whether he can apply his now trademark, demonic, wobble bass drops and thumping syncopated beats to a whole album. Named after the battle cry of the lost boys in Steven Spielberg's Hook, his fourth consecutive EP Bangarang (also his first Top 40 entry in both the U.K. and U.S.) suggests he'll have to be on his game on the forthcoming full-length Voltage if he's to avoid an Emperor's New Clothes scenario. While the bombastic Wall of Sound displayed on 2010's Scary Monsters & Nice Sprites initially provided a unique take on the U.K. dubstep genre, Skrillex's lack of progression means there's a distinct sense of deja vu among its seven tracks, particularly on the relentless, scattershot bleeps, chopped-up vocal hooks, and repetitive loops of opener "Right In" and the rap-metal fusion of "Kyoto." Even when he does think outside the box -- as on "Right on Time," a percussive, hard house collaboration with 12th Planet and Kill the Noise which eventually builds into a feverish slice of happy hardcore, and "The Devil's Den," a chaotic hook-up with Wolfgang Gartner which takes in everything from old-school rave to ska to techno -- the results are more headache-inducing than thrilling. There are a few more encouraging signs, such as the Doors-featuring "Breakin' a Sweat," which combines proggy guitar hooks, psychedelic organ chords, and Jim Morrison samples with a snarling, Prodigy-esque vocal and a filthy slab of dub bass to produce one of the year's most unexpectedly successful partnerships, and the multi-layered trance of closer "Summit," given an ethereal sheen thanks to Ellie Goulding's lilting tones, both of which suggest Skrillex should utilize his melodic leanings more often. But overall, Bangarang is a disappointingly formulaic affair which hints for the first time that the wheels may soon slowly begin to fall off. ~ Jon O'Brien

録音 | ステレオ (Studio)