Earlier this year, I wrote about LTO's Storybook – a fresh take on 2000s electronica with a bedroom intimacy. Now, LTO is putting out another record. But this time, he’s joined forces with another Bristol-based producer edapollo to create Hirola, a project which extracts elements from both of their productions into a whole new sound.
Contrary to LTO, whose music comes from a more alternative and experimental place, edapollo’s productions are settled in classic UK electronica / sparkling club music...with acoustic elements. It resembles the music of his English peers such as Jon Hopkins, Four Tet or Floating Points.
On Hirola, edapollo’s influence is quite conspicuous, especially production-wise. Expect warm synth waves, vibrant bass lines remaining a legacy of dubstep’s influence on contemporary electronic music, and compositions which are closer to classic club tracks: creating the pre-drop suspense by tweaking the EQ or removing the beats, and adding the hi-hats-ts-ts-ts-ts-ts-ts…
But the fragile intimacy, the rattling sounds in ‘Fields’ and the naive piano of ‘Meliae’, and mainly the poignant beauty of the melodies which condense so many emotions, that’s LTO.
Hirola admit that it took them years to develop a sound that equally represents both of the artists and I’m not afraid to say they’ve found a carefully honed consensus. There’s a graceful softness seeping through the six-tracker, but also a sonic density, thanks to the many layers of instruments and sounds. edapollo’s vocals are always dosed on the beat, yet feather-light; and the music is instantly likeable due to the attractive contemporary sound design, which is enhanced by the mastering by Taylor Deupree of 12k Mastering. I immediately knew that I would enjoy this record with the first listen. But then I discovered its depth by unfolding the details little by little - that’s the real pleasure.
Released November 17, 2017