Summer 2019 sees producer Lord Urameshi release his latest finely crafted collection of somewhat sci-fi like, ambiently blissful soundscapes. Emerging under the appropriate title Exit Simulation II, the new project is of such a uniquely interesting and easy to enjoy nature, that you’re likely to find yourself lost in the midst of it as one united and whole experience – a rare and valuable quality for the contemporary album.
The eclecticism on this project is beautiful – surprising actually, considering how fluid and free-flowing the whole thing seems. From Under Pressure through Living In My Head the journey feels like a consistent and calming wash of energy. Then you get the uniquely catered tones of Splash, and still you know where you are, but there’s this world-inspired element of creative freedom, a specific and meandering melody, and a hip-hop-soaked sentiment – all of which fuses unexpectedly well. A definite early highlight, and a personal favourite – the riff reminds me a little of Eminem, the mellow beat furthers this, though the tribal elements elsewhere create a mildly tropical, deep-house vibe.
As an introduction to the producer, this album is perfect – the uniquely creative aspects stand out just enough so for you to notice them, but not so much so that they take away from the natural movement and energy of the experience. Mushu makes for a fine example, personality appears in the instrumental choices and the overall mood.
With or Without You afterwards has a similar effect but pours through with more of a tropical dance vibe than the earlier hip hop style instrumental. Baka then returns to the haunting darkness a little, retro gaming tones meet with a heavy bass-line and a reflective, thoughtful aura.
Towards the end of the album, Lonely Life takes that thoughtful aspect even further and presents a decidedly spacious, engaging few minutes of simple, provocative ambiance. A welcomed moment of quiet, though one that prompts you to delve into the depths of your own mind quite intensely.
End Of the Night afterwards feels like the manically-calm, juxtaposed energy levels of the long drive home. There are several threads here that are easy to pinpoint as being the work of Lord Urameshi – there’s a subtle style to his creativity, and that recognisable aspect is again rare and well worth holding onto.
The aptly titled Bright brings the album to an optimistic, uplifting finish – a vibrant EDM track, one that builds up and drops in brilliantly. The happy hardcore mix that rains down tempts you to turn up the volume and really lose yourself in this positive energy for a while. A magical way to finish what is, as suggested, a fairly unpredictable yet consistent album – one well worth experiencing in full.