The electronic project from Montreal’s Airick Asher Woodhead, Doldrums is a project with a mind for capturing both the inventive and disturbed. Now, with his new ten-piece record, Esc, Doldrums have certainly been able to take their sound to completely new heights.

Opening the record is the paradoxical 'Esc' and the sinister, uncomfortable atmospherics provide a beautiful base for the album to thrive from, this is only before leading into the faster pacing of the following single, ‘Perv’. The track’s subtle intricacies are a true act of beauty in themselves and, with each listen, you are able to discover another entirely new sound you hadn't noticed the first time around; the sparking electricity within the song and harsh vocal phasing create such an atmosphere that it feels as though you are simply listening to a galaxy dying. The track's interludes are miraculous yet continue the uneasy sinister vibes and could not be a stronger start to any record.

Woodhead has said that the sound of the album has primarily been a result from: ‘Migraines and privacy’ and you can certainly see both of these things reflected at one stage or another. For example, the album is ridden with uneasy ambience that goes quite unparalleled by most around today. The chaotic, throbbing pain of migraines are captured prevalently within the haphazardly strung together track ‘The Stitched Together Man’ which contains an ever-growing anger that builds up to a colossal climax before being instantly severed into nothingness. Electronic music is always an incredibly hit and miss genre and too frequently are artists either producing a minimalistic sound which feels too empty or a cataclysmic abomination of mess and chaos which doesn’t hold any real depth. However, in tracks such as ‘Swim’, Doldrums seem to have found a balance which emphasises both creativity yet structural formality that keeps the album flowing.

'Limerence (We Come In Pieces)' also captures the cosmic sound of this album brilliantly and for me is the pinnacle of the record. A silky synth atop of a pedestal of well paced tribal drums feels precise, yet has captured a raw, pulsing sound eloquently and concisely. The track only continues to morph and adapt throughout the listen and at times contains aspects of the psychedelic through prolonged wah effects and dream-like synthesisers before snapping back to the harsh tribal drum beats which continue to force the track along.

As the record does reach its later stages, I did find myself beginning to switch off as the smooth transitions between songs sometimes made it confusing to detect when a new one was beginning. However this can easily be considered to be the largest positive of this record, as it supplies an incredibly holistic listening experience from start to finish that those who are craving some kind of journey through the solitary mind of Doldrums, can really sink into.

Overall, Esc is by no means the most revolutionary album I have heard this year, nor does it try to be. Instead, Doldrums have only continued to master a sound which audiences can either become incredibly immersed in during a solo listen or provide a smooth backing track for a chilled night in. This album is most definitely worth a listen and has certainly opened my eyes to a genre which I sometimes feel hesitant to freely listen to. Whether you’re a die hard electronic maestro or a complete novice to the genre, this album is a fantastic one to either add to your collection, or the perfect starting point to begin one.
Ben Walker

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