I M U R recognizes the power of silence

LOCAL RECORDS

Little Death (Independent)

A major factor in the slow decline 2 of guitar-driven music—if you want our professional opinion—is the rise of cheap digital audio workstations, or DAWS. Coming pre-loaded with drum patterns, malleable synths, and simple interfaces, DAWS make it more than possible to create electronic tracks in your basement that are—after you watch a few Youtube tutorials—studio quality.

That’s not to say, however, that every bedroom producer is the next Audiojack. True, the barrier to entry has lowered, but as Soundcloud becomes saturated with competent compositions, the rift between the average and the inspired widens.

Vancouver group I M U R falls squarely in the latter category.

Despite releasing its debut record, Little Death, just weeks ago, the trio— pronounced “I am, you are”—has already racked up more than 200,000 cumulative Soundcloud plays on its nine experimental R&B tracks, due in large part to the standout single, “F F L”. Layering singer Jenny Lea’s soulful voice over tropical-tinged chords and sparse electronic drum rhythms, the song is at once highly danceable and effortlessly smooth—a characteristic that defines the record as a whole.

Recognizing the power of space and silence, Mikey J Blige’s production never overloads the album with samples or instruments, relying instead on simple guitar riffs and light piano touches to complement Lea’s vocal acrobatics. A master of genre-bending, I M U R creates tracks like “Breathless” and “Bumps” that swing between commanding traplike drum samples and soft, melancholic bridges, creating a rich diversity that is emphasized in a live setting by third member Amine Bouzaher’s electric violin and bass.

A master class in slick production, Little Death’s rich contemporary sounds should prove a model for Vancouver’s burgeoning producers.

> KATE WILSON

that Sollors has infused the bass line of the record’s title track with a U.K. flavour. Building from a short lowfrequency riff and uncomplicated drum line, “Hold Lock” weaves classic 808 sounds around short, echoed vocal samples that lengthen into a full spoken-word discussion. Running at 125 BPM, the song’s pithy, acid-imbued feel is punctuated by Sollors’s expert use of high-pass filters and forceful kick drum.

Despite firing at a similar pace, Bside “The Hood” showcases a different vibe. Again drawing on spokenword snippets, the song incorporates everything from subtle police sirens to almost inaudible synth pads, while still showing off musical elements that will be familiar to Chicago house aficionados.

An aggressively danceable EP, Hold Lock is a versatile and upbeat release that pushes Sollors’s catalogue in positive directions.

> KATE WILSON