Ron Wilde aka Adaledge currently hailing from Brooklyn, NY is a producer who recently released his sophomore effort entitled Tell Me What To Do So I Don't Have To. It’s an album that explores intricate electronic compositionsthat are tightly refined and worthy of your time to listen to on a nice pair of headphones. The beats themselves are pretty straightforward, sometimes not straying away from a simple 4/4 beat, but some of the synths parts and other programming are succulent pieces of sound any fan of IDM will be sure to appreciate.
In addition to having enticing parts he never stays on one thing for too long. The songs are constantly morphing and if they aren't changing immediately they are changing on the micro scale which actively listening to on headphones really brings the experience to another level. You could make comparisons to Boards of Canada, Aphex Twin, Jon Hopkins for even Burial Reference but Wilde definitely has adapted to this own style that is not derivative of one specific source.
The first track is called “Castor, Pollux" which opens with a steady heavy kick drum that is accompanied by a simple cascading piano melody. Eerie alien-like synths drop into the back before the lead synth is introduced. As the song progresses more layers make themselves known including rhythmic progressions and by the 2:00 minute mark the track is rolling with energy and momentum that will take hold of most listeners.
While the first track is good, the second track is better. “You Are Not a Loan” starts off dark and heavy. A dirty low frequency synth plays along with a deep kick drum. The music quickly mutates into an open canvas that seem full of possibilities. It changes so much in the first minute and a half that it’s almost too much. There were some great parts that I wish would have lasted a bit longer than they did. While there is an ample amount of changes he hits his climax at around the 4:00 minute mark. The drum programming gets tweaked as he throws in his disorienting percussive patterns amongst a host of sounds.
Another highlight is “Bowling, Alone.” Adaledge manipulates synths sounds as they are detuned sounding like a buzzsaw. Horns are introduced; it speeds up, slows down. The sounds are original, unique and absolutely appetizing. The album ends with “Moving Towards The One,” which sounded as it was the beginning of an acid trip gone bad. He utilizes vocal samples and cuts them up and adds effects until they are barely recognizable.
I say it right now. Adaledge makes cutting edge music on the cusp electronic compositions. If you have any interest in the innovators of the genre Tell Me What To Do So I Don't Have To is an essential album to listen to.
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