In the days of larger-than-life artist personas, massive seas of crowds, and world record-breaking twerk fests, it’s refreshing to hear an album that doesn’t try to compete with the current EDM tide, but rolls gently along with it. Obsoletism is that much-needed release– both literally and figuratively– and it all comes courtesy of an L.A. based beat crafter that will soon take high priority on your radar.
If you ask him, Eraserfase makes the creation of Obsoletism sound relatively simple: “I made 90+ tracks, picked 14 of them, pulled in contributions from some of the most badass musicians I know, mixed it all down, sent it to Daddy Kev for mastering and TFail for cover art,” he’s described. You know, a little this, a little that, and BAM! The perfectly seasoned debut, hot and ready to serve to the masses. Of course, we know that can’t exactly be the case, otherwise we’d all be making music as passionate, delicate, and surprising as the fourteen tracks of Obsoletism. Mixing samples and live instrumentation with a satisfying blend of synths and eclectic noise, the album offers a chill, trippy vibe that’s perfect for sailing out of summer and beyond.
Commencing with the smooth, bubbling surface sounds of “Somebody,” Obsoletism quickly erupts into sweet displays of pretty melodies and dynamic, syncopated rhythms. The swingy “Pin Cushion Princess” features a bold hip-hop influence, while “Medicine,” highlighted by the gorgeous and airy vocals of La Mer, rocks a super dreamy, experimental R&B style. By track’s end, a determined voice appears, providing commentary on our drug-addled, Huxley-foreshadowed society. “Your pills are obsolete,” he states, and with weary, woozy beats like these, it’s true that music’s really all you need.
No track on Obsoletism ever overstays its welcome; for the most part, Eraserfase foregoes the epic ten-minute banger for shorter, faster, more concise sounds. Each track flows gently onto the next, with very few stops in between. Tinkering highlight “Polar Bear Costumes” is littered with hypnotic intensity, while “Yes No Maybe” fights for standout track status courtesy of its subtle, irresistibly catchy early dub influence.
Finally, the whole experiment comes to fruition with title track and closer “Obsoletism,” a dizzying vortex of buzzing synths, psychedelic beats, and jazzy notes that leaves its listener eating dust. It’s a spinning ride that would make any doubts regarding Eraserfase’s future, should there be any, pretty much obsolete.