|With a microcosmos existing in
"The Sad King",
that in the path of a few minutes contains a lot
of different speeds, ideas and emotions. This is
also the most extreme of schizophrenia that Omid
allows. And "At-one-ment"
then sounds like he's catching his breath. But it
also sounds like a moment of hurt bliss, evoked
when you stare at the city lights over a supposed
to be black night sky. This melancholy of this song
and "Healing Bassics"
is brushed away with the happy "Musical
Chairs", where playful xylophone
sounds mix grays into the prevented black and white
picture. The oriental spicing of "Ease
In The Middle Piece" then adds
color, while the crystal glistening of "Endymion"
rubs shoulders with the electronica "Cluster
Tech", before the pessimism is deconstructed
in the echo chambers of "Blue
Android" and "Life
At The Griffith Park Observatory".
|With the jazzy "Ways
Of The World", as said sung
by Nikko and featuring scratches by DJ Drez, Omid
proves that he didn't forget how it is to work with
vocal contributors. But this album, unlike many
other instrumental albums, doesn't desperately gasp
for an emcee or singer. There are a lot of dense
structures that even give away that these songs
were constructed with the emcee being forbidden
to enter the back of the producers head. And this
complex work does not always make it easy to approach
the songs. Instead they exist as a moment of inspiration,
in a way distinctively LA, in a way, distinctively
out of this world, that you may step in or not.
But they always are in many ways an impressive next
step for the artist they used to call OD.
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