Requiem For Delinquency – Hobs End

Requiem For Delinquency - Hobs End

Requiem For Delinquency - Hobs End

The idea of blending electrified beats, treated synthesizers and modern electronica with one’s own musical persuasions thrown in for a bit of flair and a dab of distinction is not a new one. In fact it has been around for quite a while and has been attacked from all angles, with many bands doing well by it. From Enigma’s melding of old-world and new-age and the celestial, ambient-pop of Delerium, to the blues-influenced techno of Moby and the ethnic fusion of Deep Forest. Then there’s the sample-heavy, pastiche-pop of The Avalanches and the more atmospheric and trippy electronica of M83, Blue States and Royksopp. And the list goes on and on.

Enter one Faron Chance Morrison, a classically trained composer who is credited with composing, orchestrating, producing, engineering and mixing Hobs End. This Murdock Syndicate release shows a lot of potential with it’s surrealistic artwork and a promise to unleash the spirit child in each listener and free the mind from the restrictions of the body. But Morrison’s musical vision, while a noble attempt to distill his influences into yet another original combination of electrified beats, treated synthesizers and modern electronica, doesn’t quite fulfill the listener’s need for escapism or live up to it’s promise.

Morrison aspires to make a big splash by fusing elements of new age, trance, electronica and ambient pop into a cohesive new whole, while trying to impart his own signature with emotive and textured compositions and a combination of live vocals and sampled sound bites. The latter provide some intriguing entertainment while the former do little to enhance the sound. It’s not really such a bad mix and it does have some endearing moments, but it also doesn’t have quite enough barbs to get you hooked.

In fact there are too many similar elements in each track which indicates a lack of novel songcraft with too much focus on the spirituality of the music. It’s almost as if Requiem For Delinquency is trying so hard not to be pretentious and trite, that it comes off as exactly that. Morrison doesn’t know if he wants to be serious or funny or just entertaining. I mean, how can you take it too seriously when a couple of the sound bite samples are taken from Monty Python’s Flying Circus?

Hobs End is more new age novelty than anything of real substance or style, although kudos goes to Morrison for playing the entire project on a vintage set of Pearl acoustic drums, analog synths and a 9-foot Bosendorfer acoustic grand piano. Check out any of the aforementioned bands first and if you still thirst for yet another spin on new age electronica, drink up some Requiem For Delinquency.

Requiem For Delinquency: