Year Of The Living Dead

The title of John Tejadas 12th solo album obviously reflects life in the time of COVID-19, as most clubs around the world are closed, and being isolated from friends and family makes us feel like ghosts. Tejada began 2020 with the release of the second album by Wajatta, his improv dance duo with comedian/musician Reggie Watts, but with the sudden lockdown preempting the ability to tour, the producer was able to concentrate on his own studio work. Year of the Living Dead is similar to other Tejada albums in how it balances accessibility with experimentation, and even though its not as club-ready as some of his previous records, its by no means an alienating listen. While albums like Parabolas and Dead Start Program contained tracks with bright, Orbital-esque hooks, this one has more pared-down, implied melodies and dubby washes, yet it doesnt feel hollowed out or less expressive. It also doesnt sound bleak or depressive at all -- the albums title seems slightly tongue in cheek, and might make the listener expect something more doom-filled. Instead, the music is representative of a period of getting used to new ways of living, with hope that things will work out eventually. Theres a level of restraint to these tracks, but also a sense of trying something new within limitations and challenging previous ways and methods. Tracks like The Haunting of Earth and Eidolon contain clicking, popping IDM beat patterns and rippling echoes, and theres a warmth and human energy to them that keeps them from seeming clinical and calculated. Echoes of Life and Panacea are vibrant, glimmering 4/4 techno, and Anchorites channels the night-cruising feel of classic Motor City electro. With only eight focused, concise tracks, Year of the Living Dead wraps up more quickly than any of Tejadas other albums, and not a single sound or moment is wasted. ~ Paul Simpson

コンパクトきっての職人肌なクリエイター、ジョン・テハダによる同レーベルでの5作目。近年はレジー・ワッツとのユニット=ワジャッタを通じて表現の幅を広げているが、そのフィードバックは本作にも顕著。堅調な音作りや空間処理などは本来の彼の持ち味のままだが、揺れるシンセや一筋縄ではいかないトラックメイク、それらを組み合わせた緻密なグルーヴはエクスペリメンタルでありながらもどこか牧歌的に響く。
bounce (C)藤堂てるいえ