A hard hitting track entitled Jimmy Stone kicks off this mysterious project from My Planet Is Pluto. The mood is set accordingly, the heavy, industrialized beats fuse with other worldly samples and sounds to make something that makes certain to leave its mark. Following this, Bobby Randolph changes the vibe almost entirely. There’s a delicacy now, smooth synths contrast with a grating lower end that seems part Alien part outer edges of a thought prison. There’s a hypnotic quality to it that pulls you further into the darkness as things progress.
Sein Martin marks a lengthier moment of audio exploration, the musical or emotional aspects connect a little more, the soundscape has a defiantly cinematic aura and the evolution is gradual and captivating. You’re given plenty of rhythm here, and space within which to consider whatever thoughts this bizarre, artistic fusion of sounds may cause you to conjure up. My Planet is Pluto hods tight to that element of mystery and intrigue throughout. The music is dark, for sure, but not overwhelmingly so. If you let it play out around you the experience is totally unique and increasingly interesting. Sein Martin is a definite highlight.
Steve Garland sees the intensity shift again – a heavy bass-line drives things, scattered snippets of distortion and electronic tension redirect your thoughts intermittently. It’s unsettling, the thick bass-line provides something of a comforting break from those alternative moments of manic audio trauma. After this, Rick Albert brings the excitement, the synths burst into life, the pace is quicker, the mix feels louder, darker. It’s as if the moment has reached out and grabbed you, taking you down through this black spiraling tunnel of the unknown. The rhythm holds tight to your body but your mind is free to wander wherever the moment takes you – something most probably a little different for everyone who witnesses it. A defiantly intense few minutes of music.
George Rasten keeps the vague EDM vibe alive. Throughout this project you can expect dashes of industrial trip-hop alongside of a fair few flickers of heavy metal and a generally down tempo, hip-hop-inspired sense of movement. It’s an unusual meeting of elements that you’re unlikely to draw many comparisons with. Billy Locaine and is undoubtedly one of the most interesting and provocative pieces of music on the project. The contrast between the heavy and the light works brilliantly. Miriam Locaine feels a tad similar, thought the lightness is more notably focused upon. The arrangement of the audio suggests a well-practiced producer whose creative flair and professionalism have combined, allowing him the absolute freedom to experiment effectively with sound and expression.
Bringing you towards the end of the experience, Will Gregory introduces a slightly overwhelming level of space, within which the details and intricacy or MPIP’s work really stand tall. It leaves you feeling a little uneasy, spooked even, not unlike the soundtrack to some late night sci-fi horror – a feeling brought about on more than a few occasions throughout this mix-tape.
Eric Walsh offers the penultimate piece, a single bit of feedback seems to draw you in, re-grabbing your attention to make sure you’re present and engaged. What follows is familiar now, there’s a distinct thread throughout all of this – the artist has a way with sound and creativity that is his and his alone. WALTERSULLIVAN brings it all to a memorable finish. The rhythm returns, the inclination to dance at the same time as thinking far too deeply about existence – things once again build to be bold and intense.
The very concept of a sacrament seems a strange one to connect with this gathering of tracks. Its intriguing, as stated, and there’s undoubtedly something eerily appealing about it all – perhaps it’s the uncomfortable process of some sort of musical baptism or cleansing. Worth experiencing.
Check out the mixtape here.