As much of a showcase for vintage synthesizers as it is an EP of dance beats, the duo of Flatliner have complied this showcase of their combined collection of prized gear, but work those instruments into strong and memorable songs, rather than just collections of classic noises. Adam Fangsrud and Jesse Strait present four distinct pieces on Black Medicine that all have their own specific mood and identity, but also blend together thematically, resulting in a diverse yet cohesive release.
The opening bars of "Blasted Highway" clearly define what the remainder of this record will sound like.A phased, rapidly arpeggiating synth line and the distinctive rim shot of a TR-808, later mixed by the duo with the brittle white noise snare drum ensures a distinctly analog feel to the piece.Propelled by a basic, but effective sequencer line and heavily processed vocals, the rhythm stays constant as the mix changes significantly throughout dramatic pauses and restarts.
"PC Corporation" is comparably more laid back from a rhythmic standpoint. It is slower but with a sublime, understated bassline.The opening synth pads and patterns scream 1980s movie soundtrack, but as the piece develops, Flatliner introduce more dissonant synths to produce a more harsh, idiosyncratic edge.On the other side of the record, "City Lights Receding" has a sound befitting its late night urban imagery.Mostly dramatic synth pads and rapid melodies, it has a smaller, more intimate sound compared to the club filling synths of other tracks.Between this and the heavily vocoded vocals, at times it could be a lost mid-period Pet Shop Boys demo.
The final song, "Scrap Heap," might begin with a dramatic, expansive soundtrack sense to it, but the synth washes eventually give way to the taut drum machine beat.Compared to the rest of the record, Flatliner's emphasis is less on a driving melody.Instead, the sequencers mimic the drum machines and spurt out a kinetic, rhythm heavy bursts of sound, with a hint of analog crunch to it.
In around 20 minutes, Flatliner cover a wide array of moods and styles, all the while sticking to their chosen vintage electronic sounds.While their sound is heavily indebted to the gear that they use, Fangsrud and Strait are able to use this equipment to construct songs, ones that are just as memorable at a retro night club as they are in a more intimate listening environment.
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