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Dylan Cameron, "Infinite Floor"

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cover imageInfinite Floor may be his first solo record proper, but Austin's Dylan Cameron has honed his craft as a producer and engineer in that scene for a number of years now.  That technical expertise shines through on the eight songs that comprise this record, a suite of songs that ooze with rhythm, yet also a depth and complexity that rivals the most nuanced of electronic artists.  Strong rhythms, infectious melodies, and amazing production all come together as an excellent record.


Some of Cameron's background does not necessarily shine though directly in the sound of Infinite Floor, having spent time both as a hip-hop producer and metal drummer, but that sense of diversity and variety does come across in the diversity of production and composition here.  Album opener "Nebula" is a great example of this:  sweeping noises and crackling textures scream old school musique concrete electronic experiments, yet skittering high-hat and jungle drum loops push the piece more to the club than the opening minutes would have hinted at.

Cameron works with similar abstraction on "Forest Drone", where he pairs sheets of white noise with slightly mournful beats and synths.  There is a distinct rhythm, but parts of it are clearly the product of synth bits or found sounds rather than trite samples or drum machines.  "Human Condition" is also similar in its method, with ambient sweeps and open passages eventually blended with massive handclaps and bass heavy beats.  Concluding the piece on a field recording of some sort, Cameron goes in many different places during the piece’s sub-four minute duration but never does it feel unfocused.

Other moments may be a bit less challenging of course, but even during the more conventional songs, Cameron is sure to give them a distinct edge in his performance.  "Misted Road" more heavily features conventional sounding house synth stabs and lead, but the overall structure and composition is loose and far less repetitive than most music of this style.  "Difficult Floor" leans a bit more into the world of dance floors with its standard techno throb and sampled female vocals, but is still drenched in Cameron's idiosyncrasy.

As I mentioned before, one of the biggest assets to Infinite Floor is Cameron's experience and ability as a producer and engineer.  Not to take anything at all away from his ability to construct beats and melodies (which is exceptional), but where this album stands out most is in its production and sound design.  There is a depth and complexity that is extremely impressive throughout this album.  Synths and samples are obvious at times, but Cameron blends and shapes them into different elements entirely.  The finished product is both memorable and compelling in its nuanced and unique style.





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