Pianist and composer Troy Masters takes listeners on a cleverly unique series of journeys with this new EP.
Never one to succumb to expectation, Troy exercises his right to take full reign creatively, presenting a plethora of musical moments that range from minimalist acoustic to full-throttle, retro-keys funk and cinematic ambiance.
Lucidity starts things off incredibly well. From smooth and seemingly fluid progressions, to occasionally jarring pauses and changes in direction, the piece manages to impress and satisfy whilst also proving unpredictable and artistically poignant along the way.
Then as we get past the minute mark, the whole evolves into this lightly synth-kissed arena of ambience and mellow rhythm. It’s brief, but refreshing and ultimately quite powerful in its care-free creative nature.
Shonk redirects things early on and brings in a jazz and funk aura – those retro keys and this meandering, long-form melody blend awkwardly with flashes of sci-fi-soaked synths – the electronic and organic worlds collide and intertwine in provocative and notably engaging ways.
Mesh quickly takes us back to a simpler time. The smokey piano bar, the quiet contemplation and subtle joy of simply being. It’s a short-piece, the shortest in the collection, but well-placed for its purity and easily impressive musicianship. A few synths wash over later on, reminding you of the Dannie Wanna threads; the Troy Masters calling cards.
WFM Cycle reinvents the pathway again, driving with a fuzz-kissed, heavy bass-line, and the juxtaposed delicacy of a free-flowing keys performance roaming an octave or so above. By the latter half, movement and softness work gorgeously together, offering the escapism of EDM or trip hop, alongside the human depth of jazz and emotive melodic development.
Finishing things off and proving to be a personal favourite, Inna Wane is a decidedly melancholic, unsettling yet profoundly beautiful piece, which seems to meander along the line between fear and confidence in a subtle but all-encompassing way.
On the one hand we have the pianist, playing this wave of rhythm and this emotional progression. On the other, we have these more mellow waves of synths. And always we get the occasional note that seems misplaced or lost – much like the style presented in the opening track, Lucidity. Another calling card of the artist, yet one not purely there to shock or offer a name tag – one that seems deeply connected to the underlying stories and thoughts that led to each of these compositions.
This final piece feels like it could be the soundtrack to some captivating, compelling animation or story-board.
A fascinating work, brilliantly unique yet immensely impressive musically in the very same instance.
