We had a look at Danny Ruane’s last work, Arrythmia – take a look here
The album begins with a remix of Martijn Comes’ ‘Depths of the Nile’. ‘Depths of the Nile (Danny Ruane Remix)’ is an incendiary, atmospheric assault onthe senses that teases the listener with its heavy avant garde structure and machinations of sound. The remix of ‘Phaneron’ by Trinkkets follows a more conventional song structure, using heavy purring synth sounds reminiscent of Ruane’s previous works. The Aniki San Remix (Inverchoulin) that follows sees the first implementation of conventional instrumentation, with soothing electro-piano lines that fall over a funky rhythm that turns almost into afro beats. The beat drives the song forward with pace and provides an interesting back-drop to the piano and also strings that come into the song later. The beat then falls away to reveal thicker and thicker string instrumentation before returning to the piano and beat combination.
Ruane’s second Trinkkets remix, ‘Lace’, is one of the longer tracks, building darkly through a moody beat and intermittent industrial sounds. As the song progresses it becomes recognisably more ‘techno’ and the bassline thumps and drives more and more aggressively, culminating with an ultimate crescendo of bass and industrial drum beat. The first Ruane track on the album is ‘Leaf’ remixed by Pierre Alexandre Tremblay. The track opens to an almost siren like effect over the top of some frantic drum beats. After a minute or so the song moves up a gear as heavy synths and the same frantic drum beat take hold, the siren still intermittently sounding over the top of the snarling back track. The song punches on with dark determination until it eventually slowly fades out and pulses out into nothing.
‘Switch’ is another Ruane song, this time with editing credits attributed to LOFTMIND. This tune opens with an unrelenting drum beat which is often a hallmark of the album. The build-up is slow and subtle as the backing track slowly comes alive, intermittent sounds hovering over the beat as tension is built. A light synth line slowly feeds into the mix as the high-hat opens on the off-beat. Tension continues to rise as more is added to the song. Suddenly, however, the song changes as it goes up another few notches almost without warning. The song’s new tempo adds a greater dance aspect that isn’t seen in the other tracks in the same way – this song definitely shows the dexterity of Ruane as an artist.
‘Tranquilizer’ appears twice on the album, being remixed by once Shay and then being ‘recalibrated’ by Trinkkets. The Trinkkets recalibration is the end track on the album and is a strong sign off from the album. Opening on an almost explosive feedback, there’s a dark mood to the track, the echoing mournful synth behind the explosive noises reminiscent of choral church singing. It paints a conflicting picture between the harsh electronic noises and the soft sounds that weave behind them. There is no backing drum beat, but this ambient track would lose much of the feel that it created through the use of a conventional beat. The synth sounds become faster and faster and then drop away again, eventually the sounds falling away completely to leave a wash of sounds from the back of the mix to fade out the song.
Overall, whilst Ruane’s album is by no means commercial, it is very listenable and fairly accessible. The hooks and subtle building of the songs grab the listener and keep them guessing for the whole song. It’s a strong album from a strong artist who’s going places in the electronic scene.
You can pick the album via bandcamp here
This article was written by Samuel Brunt