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Review Summary: Sorrow once again creates a world that only he can, and proves with his first LP that he has more than one trick up his sleeve. Sorrow is one of those deep bass/garage producers who never fails to completely blow minds with each new track he releases and his mix of swirling sub bass lines, intricately developed beats and organic samples makes for some of the most enjoyable music coming out of the scene right now. Since his emergence, Sorrow has released several EP’s to both critical and fan acclaim, resulting in boiling anticipation for the producer to release a full length. Well, finally in 2013 we are given Dreamstone, an LP that may very well be the best bass music release of the year and a deeply emotional and atmospheric journey that won’t soon be forgotten.
Being a bass release, you would expect most of the stunning work to be showcased below the 250hz range, and Dreamstone showcases some of the most amazing work of any genre being done in this very low audible range. LFO (Low Frequency Oscillator) rates and other interesting effects are applied to these low sub basses which create unheard of sounds that shake the room and pulsate through the listener’s body. It’s apparent that in almost all forms of modern music, audible bass is more desired than ever in a live setting and when listening alone and these frequencies add an extra level of sensation and “feeling”, if you will, to the music. Dreamstone really showcases some of the most mind-bending bass work around these days and it’s a technique and skill that takes years for producers to perfect, showing the true diligence and skill of Sorrow.
While the bass work is really what makes this album shine, the upper frequency ranges are not ignored at all as we are treated to an extremely layered and gorgeous outer lining of samples, pads and mid-range wobbles. As a result, Dreamstone almost sounds like a deep dubstep record mixed with an ambient record. There are so many different things going on within the productions at a given time and even several listens later new things can be heard in the distance, increasing the replay value of the LP. "Elixir" kicks off the album on a high note, teasing the listener with an intro of flickering high hats and distant female vocals (another soothing aspect of the album in almost every song) before diving head first into the depths of bass and beats. It’s a track that embodies everything that has worked for Sorrow in the past and is also a track that conveys the sorrowful feeling conveyed through all of his music. While most of the tracks here paint a very intense and almost depressive atmosphere at times, tiny rays of hope and light peak through the deepness in the form of perfectly placed vocal melodies, bright synth work, reverberating piano lines and even some incredible stringed instruments.
The majority of the tracks here display beats and tempos that we have come to expect from Sorrow, but we really get thrown a curve ball during the track “Maely” where Sorrow dishes out a more uplifting deep house beat. Also, during “Intruder” we get dealt an excellent hip-hop inspired beat that would be perfect for getting amped up for a long bike ride or ski run. Although these tracks change up the pace of the record nicely, it leads me to one of my few gripes with the album. While there are definitely tracks here (“Elixir”, “Moodwing”, “Dreamstone”, “Gallows Hill”) that are 4.5/5 and 5/5 tracks, there just isn't enough diversity in the LP to merit it as a classic album. The first half of this experience is fresh, exciting and thought provoking, but the deep bass swells and Burial-esque garage beats begin to sound a little redundant as the record comes to a close. However, this fault shouldn't rest solely on Sorrow’s production choices, but more on the fact that many artists in this genre face the same difficulty when it comes time to release the inevitable LP in their career. EPs tend to work flawlessly with this style of music, but very few producers are willing to switch it up enough to create the diversity that has to be showcased on a full length release. This is really the only possible flaw I could find with this album and strongly recommend that you visit Sorrow’s bandcamp and purchase the LP. If any artists deserves your support, it’s those like Sorrow who do all this by themselves and do it for the love of this very incredible form of modern music.
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Album Rating: 5.0
It's been a long while since I've posted a review, definitely feel free to let me know what could be improved upon etc.
This comes highly recommend and it's cheap on his bandcamp, buy it!
http://sorrowgarage.bandcamp.com/album/dreamstone
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Being a bass release, you would expect most of the stunning work to be showcased below the 250hz range, and Dreamstone showcases some of the most amazing work of any genre being done in this very low audible range. LFO (Low Frequency Oscillator) rates and other interesting effects are applied to these low sub basses which create unheard of sounds that shake the room and pulsate through the listener’s body.
Honestly, this is all kind of pointless. I get what you're going for, but being technical for the sake of being technical will only alienate the people who don't quite understand what you're getting at. You've also got a number of grammatical errors spread throughout here
Also, the day we stop referring to things as being a "bass release" will be a great fucking day
| | | Album Rating: 5.0
with all due respect, i think most people who care enough about this music probably have an understanding of what hz are and what an LFO is, if not then they aren't taking an interest in the technical side of how this music is actually produced. I think a lot of people actually do care about that when it comes to analyzing these productions.
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That's why I said only alienate the people who don't quite understand what you're getting at. And of course people who have an interest in this stuff will instantly gravitate towards this, but for anyone from an outside perspective speaking in Hz and LFO's isn't going to help them in any way. I get wanting to talk about the technical merits of a producer, but you're discussing the music, you don't need to get into the technology behind the music, especially for newcomers
My 2 cents
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oh deviant ^_^
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great review man. I listened to a bit of this and was impressed so I'll get the whole thing soon
| | | Album Rating: 5.0
definitely hear what your sayin Dev, will keep that in mind on future write ups
| | | Album Rating: 5.0
anyone out there? give this a listen!
| | | Album Rating: 4.0
This is the shiiiit
| | | Album Rating: 4.0
oh, nice this got reviewed. Will read when I get back home
| | | Album Rating: 4.0
v good album
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Oh wow, glad that you reviewed this man. Good review too, posd
| | | Album Rating: 3.0
digging this shit right now, it's great.
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no it's superb
| | | Album Rating: 4.0
That's why I said only alienate the people who don't quite understand what you're getting at. And of course people who have an interest in this stuff will instantly gravitate towards this, but for anyone from an outside perspective speaking in Hz and LFO's isn't going to help them in any way. I get wanting to talk about the technical merits of a producer, but you're discussing the music, you don't need to get into the technology behind the music, especially for newcomers
My 2 cents
I don't mind discussing the technology behind the music, as in this case it does help appreciate more what the producer's doing imo. I guess my biggest gripe with that section is that it's just a basic definition he's giving, but he's not really talking about what makes Sorrow's use of it all that special.
Otherwise solid review.
| | | Album Rating: 3.0
Burial is superb. Sorrow made some amazing tracks for this album, but not with each one is like that, some tracks stand out from others, that down the rating for me.
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this is better than untrue.
((((((i said it))))))
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Damn I have this rated?
| | | Album Rating: 5.0
"Better then untrue"
Haha big words my friend, but I've probably been more amazed by a few songs here than untrue, untrue has a little more diversity tho
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I don't mind discussing the technology behind the music, as in this case it does help appreciate more what the producer's doing imo. I guess my biggest gripe with that section is that it's just a basic definition he's giving, but he's not really talking about what makes Sorrow's use of it all that special.
Like talking about Hz alone is kinda pointless, so yeah I agree
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