Let me preface this review by saying that I have never listened to SBTRKT before this album. I knew the name enough to know that SBTRKT was an electronic act, but I did not know it enough to realize it’s pronounced “subtract.” While SBTRKT is in fact a singular DJ making music under the aforementioned moniker and performing behind a unique tribal mask, his music is more often a collaborative project than a singular effort. With a history of making remixes of M.I.A and Radiohead as well as frequently teaming up with vocalists Sampha and Jessie Ware, the SBTRKT sound is something bigger than the DJ himself and accessible to a variety of audiences.
With any new artist, familiarity bodes well for first impressions. With the likes of Sampha (known best from Drake’s flip of “Too Much”), Raury, and A$AP Ferg providing vocals among others, I had a sense of comfort listening to tracks like “Higher” and “Temporary View.” Some of SBTRKT’s beats come off as anything but conventional, and with various electronic textures verging on the cusp of straight computer noises, it can be a bit alienating. But when he recruits the vocal talents of an enjoyable artist, his beats take more direction and simply make more sense.
Case in point: “Look Away,” featuring Caroline Polachek. The beginning of this song, with its seemingly off-beat clanging behind lost piano chords, makes me wonder where this track is going to land (album title pun, check). When Polacheck comes in with her eerie vocals and less-than-perfect hook, for whatever reason, the song comes together for me. I think it helps set the mood for what the song is, and in effect I’m not bewildered by the end. It’s not by any means the most pleasing song on the album, but I understand it for what it is.
Overall, this is a solid outing for SBTRKT. The variety of sounds makes for an interesting listen and I have some select favorites, but I don’t see myself listening through the album front-to-back many more times. This is chiefly due to a lack of cohesiveness amongst all the collaborations, but I think SBTRKT (or his label, Young Turks) knows this because of the six different singles released on Spotify. From a cynical view, this model of an electronic-based album can be compared to David Guetta’s pop fodder 2012 release, Nothing But the Beat, an album that throws in as much star power as possible but doesn’t put in enough effort where it is needed most. If this project fails to meet your expectations formed after SBTRKT’s self-titled debut, at least you can jam out to Ezra Koenig’s funky vocals for three minutes.
Wonder Where We Land