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░ ██ ██ Artist: Dead Beat Project ██ ██
▓ █░░ ■█ Album: Breaking the Shell █■ ░░█
■ █▓▀ █ Year: 2007 █ ▀▓█ ░
█ ▓ Rel. Date: 2008-01-06 ▓ █
▒ ▒ Genre: Trip-Hop ▒ ▒
█▄ ░ Label: Aesthetic Death Records ░ ▄█
░ █▄ ░ Source: CD ░ ▄█
▀░ ░ Type: Album ░ ░▀
░ █▓ Encoder: LAME v3.97 -V2 --vbr-new ▓█ ░
▓ █ Quality: VBR, 44.1kHz, Joint Stereo █ ░ ▓
▄ ■ ■ ▓ ■
░█ █░ ▀
█ DBP is the solo project of ESOTERIC (UK) Keyboard █
█ player Olivier Goyet. This outfit took shape █
█ during the summer of 2005 while on tour in Europe, █
█ writing some possible ideas of new compositions █
█ for ESOTERIC, but which eventually could not fit █
█ with the band and were associated together under █
█ one new project. It's taken nearly 8 months for █
█ completion of the first album of DBP, which has █
█ been mastered by Greg Chandler at Priory Studios █
█ (Sutton Coldfield - UK) and is now released on █
█ Aesthetic Death Records. █
█ The music expresses a certain form of beauty in █
█ sadness and melancholy. Endless Space and Time █
█ where one can linger eyes closed. A moment of █
█ reflexion on the inner self. █
█ --- █
█ Rated 80% by Obskure.com : █
█ "Olivier Goyet, DJ and clavierist investing his █
█ know-how within the doom formation 'Esoteric' █
█ (considered here as a cult band, and we are not █
█ the only ones to think so) , IS Dead Beat Project. █
█ His first test, "Breaking The Shell" is somewhat █
█ like a meteorite, an object lost in the universe, █
█ which emerges without notice. █
█ To the point that it does not crash against █
█ anything, carrying a halo of diffused light, an █
█ emotional and synthetic charge which, with the █
█ artwork signed Michaela Vorlova (partner of Goyet) █
█ and situated a thousand miles away from the hard █
█ and abyssal work of Esoteric, sets a matter █
█ entirely conceptualized by the musician. █
█ His relationship with the operating mode of his █
█ doomster stooges is minimal: the intervention of a █
█ known personnel of the troops (Greg Chandler with █
█ the mastering), for example. █
█ And on the bottom line, a hypnotic capacity as █
█ well as a scorn of the rules in regards to the █
█ usual formats of the "song". No question here of █
█ undermining matters, of making sure one enters the █
█ sacred-holy three minutes track. No true "songs". █
█ No, no and no. █
█ Goyet, in his own way, assumes without the █
█ statement an aesthetic conviction which, apart █
█ from several shorts making the first half of the █
█ album, does not certainly summarize the approach. █
█ Things must be said, and we will take time to hear █
█ them. Quite simply. █
█ And Goyet, true to himself, pushes the stopper. █
█ Far. If fifteen minutes are necessary, he will do █
█ it. It will be the final "Moon Eclipse", █
█ succeeding the one-before-last title already █
█ exceeding twelve minutes very briskly ("The Reason █
█ of my Soul", charged with moving and translucent █
█ textures, in prelude to a watery magma). █
█ Originally intended to be presented as frameworks █
█ for Esoteric (which generates a paradoxical sight, █
█ facing this interesting optic sway), this purely █
█ atmospheric work emerged while on tour, during █
█ 2005. They show the approach of Goyet, in its █
█ final shape present on this album, at least, as an █
█ alternative. Exit the attractive, rough and hard █
█ shapes, developed by Esoteric. Exit the █
█ saturations, vociferations melted in the mix. Exit █
█ also the stage, DBP being for the time being a █
█ studio project stricty and fullfiling Goyet of two █
█ opposite and complementary experiments: outburst █
█ of the forces in Esoteric, the reflexive talk via █
█ Dead Beat Project. A double posture, a language █
█ sway allowing him to embrace as a whole. Not bad. █
█ While playing with electro, sensitive, lunar and █
█ m