Black Room Boy
25 February 2013
|Black Room Boy (Original Mix)||Above & Beyond||6:10|
|Black Room Boy (Club (Mat Zo) Mix)||Above & Beyond||7:24|
|Black Room Boy (Maor's Deep Room Mix)||Above & Beyond||6:30|
Black Room Boy (Original Mix)
After two years, the final single of Group Therapy came out. Sadly, Sweetest Heart & Only A Few Things were never remixed. Thankfully, this was mentally preserved by the spotlight. BRB is particularly focused on lyrics, more than any other Anjunabeats song. Not only do they sound front & centre, but they have far more variety & detail to them. Let's see how well they did.
It's in second person. The first part is simple. 'You' are online & drink caffeine. I only just now learnt what 'DIKU' stands for: 'Do I Know You?", which would take the same amount of time to say as it would unacronymised. Thankfully, there's never a lyric as insulting as that ever again on this label, but I'm watching out. However, the second part is just as challenging. I don't think that many people wear their father's rings, were left by their parents, or decide to not have mobile phones, especially not music fans.
So the lyrics are unendurable, before they're understood, & after they've been deciphered. At least we have the song. Sadly, the lyrics are particularly difficult to ignore, but tuning out is easy for music listeners. The first verses are only tremulant, not standing on their own, but easing the journey, with a lessened version of the final result. The first chorus hits the first event of the whole song, lifting the motion to fast walking. At least the entire song is appropriately black. No-one could confuse this for a smiling ditty.
The second verse brings it back down to swimming speeds with mildly windingly-shaped vocals. Chorus #2 foreshadows acceptable music. BRB is not very stylised. The synth is not worth mentioning. The echoing, hollow hits are the one memorable style choice, & even then, it's just an echoing hit. 3:33 brings us to the first attention-worthy trespassing of norms that BRB can muster: the tune does not change, or improve in any way, but this presentation is better than the awkward lyrics: it is a firmly rocketing hovership that cannot touch the ground, accelerated & accentuated by an equally dissociated guitar marking the real notes. At 4:03, we learn the difference between 90% of the speed of sound & 99%: we get grounded again & pounded for the first time. THis time, the robotic, futurist style actually matters & counts for something. This solitary tube of a magnet train is a nuclear battery per se, ie it would burst energy even without the wothless tune.
BRB perfectly suits the background of a party, not its main event. Which is where you've heard it before, in the background of a plastic surgery/botox party on a Season 7 episode of psych.
Black Room Boy (Club (Mat Zo) Mix)
Rebound, his remix of Fallen Tides, Music Is For Rich People by Soliquid, & finally this. Matan Zohar used his his 'Rebound' tune four times in total. As if to spite the industry fakers, he made it even more blatant than when Andrew Bayer covers for these A&B goons. Less than two minutes in, he's blown them out of the water & into the frying pan: his original, unrelated tune harnesses the worst part of the OM, the nonsense phrase 'You're a Black Room Boy', & makes it the best part of any mix vocals can handle. The tune is more ecclesiastical than the Basilica, & more further away than God; so delicate & immanent is this icing of heaven's hell that it seems more like a good dream I can't remember than a genuine occupant of reality. It gives way to a trash precursor: as he repeated himself, he had to change the style each time to keep it fresh. This time, he's delved into the most chainmetal lashes of mechanothrash computers can muster. It's a good aesthetic, & an even better ride. We fall internally into the deepest thresher he could muster, a true Odyssey of cheese graters. 4:07 returns us to another wavelength of magic, the rescue, the saviour of the worth saving the OM vocals by weaving them within his new mellow liquid, which in this minute is a softly bouncing melody fruitfully spindling & frantically firing paintballs of lilac nectar. It lasts only a moment, though. The real spectacle after that, of course, is the Rebound beat revved up so much, it's devilish & overfills what you want filled, ie blood vessels. Matan Zohar is a real hero for this. I wonder what a fifth version would be like.
Black Room Boy (Maor's Deep Room Mix)
Taking it away from the Sun & towards the coldest vacuum, Maor fills the time with ice slush, then frozen fluoroantimony. His funky caterpillar train makes a spectacle out of the void, festooning emptiness upon a temporal experiment. As monumental as Big Room is, this truly is an acceptable wave: 'Deep Room'.
Has anyone ever told you how good saxophones feel? They intergloss in Levi's innovation, unrelated to the OM in every way. Again, the vocals are tolerable in this, unlike the OM. This magnificent titan of funk shows that ML can do any genre, & it shows that he should. Levi's range is perhaps even wider than Mat Zo's, although his discography is bigger.
ML legendarily uses many threads to whip together this Colossus. The saxophone is on hand to physically structure this floating Burj Khalifa with small but lingering squiggling trails; the bass, the most indispensible & warm of all the guitars, is here to slide under the skin & soothe; the vocals play off of everything & nothing, revealing that the magic was there all along, but the OM sapped it away somehow, a vampire upon pleasure; & small piano to sweeten the sugar once more. Aside from the fields of sunflowers & Sagittarius A*flowers, the stripped-bare-&-loved stretches complete his masterpiece of psychominimalism. We can truly call this the 'Deep Room Manifesto'.
- good trash is good