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That’s particularly true of “A Yellow Robe,” the album’s longest track and clear highlight. Every track is awash in sumptuous, eminently hummable melodies the album swells with a newfound sense of joy. As his experiments have gotten riskier, the music has gotten sweeter. Even as the music expands in length, it feels more immediately emotionally satisfying than any of Prekop’s previous electronic music. That expressive dimension is Sons Of’s greatest strength. And in “Ascending by Night,” when a unison melody line suddenly blossoms into triads, it’s unexpectedly affecting-a reminder of how powerful even the simplest harmony can be.
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In “Crossing at the Shallow,” a new set of chords draped over an unchanging ostinato bassline lends a new harmonic dimension, turning a club track into something more like an actual song. But fresh sounds are constantly coming and going. They’re not as mutable as either of Prekop’s recent albums for Longform Editions, which meandered across endlessly morphing landscapes for 20-plus minutes at a time. You can hear echoes of Manuel Göttsching’s E2-E4 in their endlessly unspooling arpeggios and patient filter tweaks, but unlike the German composer’s scale model of infinity, Sons Of’s tracks are never content to remain in place for long. The expanded real estate gives the duo ample room to dig into repetition’s hypnotic effects. The shortest, “A Ghost at Noon,” is nearly eight minutes long the longest nearly 24.
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But that simplicity has a charm of its own: a mix of insistence and innocence that’s reminiscent of the very earliest house music.Ĭompared with Comma’s relatively compact statements, the four tracks on Sons Of positively sprawl.
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Pitched anywhere between a leisurely 118 bpm and a dubbed-out slow-motion crawl, the drums serve mainly an architectural function, like trellises to support the growth of their vine-like sequences. Prekop has previously called his beat programming “rudimentary,” and despite McEntire’s prowess as a drummer, the duo doesn’t seem much interested in subtlety here the album’s beats are proudly, almost defiantly simplistic. The rhythmic dimension of Prekop’s music has never been so prominent: He began toying with drum machines on 2020’s Comma, but every track on Sons Of is anchored by the steady thump of fat, declarative kick drums and crisp electronic hi-hats. The first becomes apparent just a little over a minute into the opening “A Ghost at Noon,” as a gargantuan kick drum comes pile-driving its way through elysian fields of synths.
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Compiling the fruits of those long-distance collaborations with material recorded live in 20, Sons Of represents a natural extension of Prekop’s solo electronic work, full of baubly tones, chirping accents, and supersaturated colors.īut there are crucial differences, too. In 2019, they played a handful of shows together, recording as they went, and when the pandemic hit, they retreated to their respective studios and began emailing ideas back and forth. But the project is a long time coming: A dozen years ago, Prekop told an interviewer that the two men had recently been “very close to collaborating on an ‘old-fashioned’ sequencer record” then Prekop’s twins were born, and his free time evaporated. Sons Of is the first duo record from Prekop and his longtime Sea and Cake bandmate John McEntire, a producer and percussionist who, between his time in Chicago groups like Tortoise and his work behind the boards for Stereolab and Teenage Fanclub, has put his stamp on decades of indie and post-rock.