• Easeful, dreamy progression
• “Less is more” motif
• Dissonant riff that merges later
After having been enraptured by Echonomist’s oeuvre for months this year – my Spotify wrapped holding testament over that, it was clear the Greek performer has a sonic allure that can’t be eluded so easily once experienced. Consistently providing thorough remix duties as well, his take on Yeah But No’s “Veneer” validates the producer’s sheer capacity to churn out sentimental pieces, rejecting intricacies yet favouring detailed instrumentation for thoughtful listening.
Afterlife, Innervisions, TAU – stopping by some of highly regarded independent underground labels of these times, Echonomist incorporates various sounds as his trademark, constantly pouring focus on Indie Dance that is deeply entrenched in techno-pop from the former decades. The resonating “Our Last Night” (featuring Mironas) serves as a fitting example – based upon a strutting percussive beat, it is smoothed over by radiating new wave synths playing over a melancholic riff. Even on “Panic Attack” (with Jenia Tarsol), a recent release, the undulating bassline is offered with pounding snares and classic electro synths to a greater degree.
On a couple of listens, as my candidness of being a critic bugs me to mention, this attempt on “Veneer”, which originally is an unplugged and acoustic record, felt to an extent predictable. A few minutes more of replay, I started understanding the finer nuances at play here. Minimalism is mistaken for lacklustre far too often, yet further analysis dispels that. Just as the stripped performance, the bespoke electronic act didn’t overwhelm.
Gradually, the bassline adhering to the minor scale is introduced over a vocal harmony ongoing, and although unexceptional, does wonders within the made ambiance. It’s almost fitting in context of a snowy Christmas evening, a slow and hazy and pacifying pace that empowers the vocal. More than often, a lead synth chimes in the distant, adding to the already riveting cadence. Percussions do come in, not barging over rudely, and shaping over an organic texture. Midway through, contrasting as it gets, a bolder synth comes into existence, becoming a sensible presence as the low-end starts over. Reaching culmination, the songs turns lighter until its eventual windup.
To those ears appreciating such modest nevertheless compelling music, this officially approved version of “Veneer” is stimulating and subtly experimenting till the end to not become stagnant, charmingly.
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