False kicks off with a vibe. I’ve always been a sucker for harmony over the melody. Over the chord sequence in the dark and lamenting key of F minor, Malux implores a drone hanging over for the duration of the first 32 bars of intro to the track. Not the type of drone that flies in the air though, but the harmonic effect used in music whereby a tone or chord is held continuously over a section or the entire piece of music. Over each 8-bar phrase the drone weaves in and out from a clean tone to a very dissonant, beating sound – awesome effect. Whilst this is going on there’s some interesting sounds going on – percussive, electronic sounds wide in the image with a low-pass filtered, vocal sounding sample dead straight down the centre of the mix. After 16 bars the drums come in – once again hats wide, snare dead centre. The spatial image is getting pretty enveloping by now. The build up and drop feature a nasty, growling bass with clips of the drone we heard earlier side-chained. There’s some pretty interesting sounds at the end of each 8-bar phrase – go check em out. All round solid track.
Malux then takes Optiv & CZA‘s rowdy Dead Beat and makes it his own. He actually goes ahead and changes the key, taking it down 7 semitones, coming in with the distinctive descending riff with the formant vocally sounding synth. By the time we get to the drop he’s added some large, almost brass sounding syncopated, gated chords. 16 bars later these chords are getting pretty rude and funky. As with the last track a whole range of nasty sounding bass sounds.
Overall Malux has involved a whole range of creative harmonies, melodies and sounds in these two tracks combined with some great production. Top job – looking forward to what he has in store for us next.