The experimental side of electronic music is always the most subjective spectrum to delve into. What exactly is experimental anymore and does anybody really care? You have intelligent musicians that craft different shades of dubstep as if they’re simply adding to a compositional phrase of music and then you have techno-driven producers that build swells of walls that encompass everything from beats to strings. Gui Boratto has never been one to stand on the merits of repetition and nothing else; songs like “Scene 1” glisten with spectacular movements in both dynamics and rhythm. He’s often taken to the side of electronic music that is far more compositional in exposure, instead of how fast the music is written. And now III highlights some of his freshest music for an excellent new release.
Boratto’s songs explore different realms of fascination and they all stun with diverse sounds. There’s a very strong tension in grouping music together with atmospheric blends and slowly-built, gradually-composed strands of layers. A song like “Galuchat” bleeds in and out of focus through Boratto’s heavy underlying use of repetitive beats and creeping bass lines; the only difference here is the way the melody shies away. It’s almost spastic the way Boratto melts all of the sounds together. Most of the songs on III seem to rely more on pure sense and feel, rather than on purposely always driving forward. And really, that sounds confusing in the scope of electronic music – to be constantly progressing, fighting against and with the beat…more like a feeling.
“Striker” beguiles with rounding atmospheres that cloud together before the snare drum kicks in. There’s a tight beat that comes against the grain, before joining together. It’s seemingly composed, like a running string of lights. The sounds of the synthesizer, the rhythm and pounding of the drums and the way the menacing melody strikes in. It’s like a strikingly stunning fusion of lights and the whole time you’re lost in the blissful composition. There’s both an instant pull and leanness with the swiftness of the beats. And towards the end of III comes “Talking Truss,” an eight-minute, scaling adventure into pedal tones and rugged synth. The song conveys a strong focus in both advanced surfaces where the snares are contrasting sounds while still, complimenting the keyboards. Songs take form and shape with Boratto’s masterful producing skills and every song is a productive style of music.
Through its various composures and dimensions, Boratto’s material remains significant because of how gripping the music continues to be. “Soledad” is a highlighted reflection of the kind of magnitude and mysterious musicianship Boratto is still very capable of. Defined as loneliness in English, “Soledad” is a refined collective of pensive tones and strings for an assured, poignant image of solitude. Fortunately III is an aptly titled, continued sign of excellence from one of electronic techno music’s prominent leaders.