Proem Among Others CATMD103

Proem is probably this years winner for most prolific artists in the IDM genre. Proem follows up his Negativ CD (m3rck) from ealier this year with a MiniDisc of all new (and some previously lost) tracks of quality glitch ridden electronica. On "Among Others" Proem gets a bit darker and eases up a bit on his signature breakneck skittery beats to let the ambience flow. Simply put… beautiful. [Learn more about Proem...]

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Hailing from Austin, Richard "Proem" Bailey follows up his previous full-length Negativ with work in the same fibrillating, brooding beaty vein. Taking a couple bits of morbid ambience in "001" and "Your Grandfather is Dead" to get warmed up, Among Others, on the MiniDisc label n5MD, really starts to get interesting with the bubbly, scratchy "Phat Sheild" serving up a deep slice of twinkling starscapes and crunchy beats that reminds the happy listener of a beautiful homage to soupy Bola. "Early Rings" rumbles slowly, the humming of florescent lighting and subsonic reverberations suggesting visions of a subway car pushing air through a tunnel, with its track-gap beat building until the sluggish beast rolls its way through the pre-dawn of a slumbering, industrial city. The irregular cadences of "Three Days Before I Move" and "Crashmap" suggest a struggle between broken symmetries, a collapse of order and control with freestyle attempts by the musician to patch up mistakes as best he can as the pieces play themselves out.

The best track, and one that probably should have closed this release, "We Are Going to Let You Go" collects abrasive synth chords, skating echoes of water drops, and more distended, metallic drive thrashing, becoming a work that nails a hollow, sinking feeling in the gut: a sickening, sucker-punch of nausea before everything goes terribly wrong, like the helplessness of a witness to two cars only moments away from a head-on collision. Here Proem stretches out time with his glitchy , broken rhythms, making the wordless horror before the inevitable seem long enough to be an eternity.

A sequel that succeeds on the same level as the original, Among Others should draw interest from those who like their old-skool electro damaged by glitchy, twitchy beats and melodies, where structure meets and fights with decay -- and doesn't always win. igloomag

Richard Bailey, a fully fledged electronic music engineer crafted his debut release with Hydrant Records in 1999 with a full length called Burn Plate No.1. Shortly after its initial release, Rick signed to Merck Records ( in 2001) and N5MD (Among Others, late 2001) as well as other internationally based labels. With his recent signing to N5MD, Proem's work becomes fully solidified. A concentration on sharp magnetic beats punch at your ears with simplicity while shards of electronic tweaks dance around synthetic rhythms. A darker element is evident on Proem's latest release with N5md called Among Others. With some of the quirkiest (or perhaps simply strange) track titles including "Luke Warm Bath With Rubberkitty", "Slow Nods and Slippers" and "We are Going to Let you Go".. it's a good sign that Proem decided to use vowels in his track titles unlike (many) other experimental electricians who get lost in the letters vs numbers theory. The opening track, aptly titled "001" casually sweeps the listener by the feet and lifts you into space with its delicate chords, swooping piano rhythms and soft atmospheres of beauty.

Much of this album could just as well have been released on Skam or Warp for the sheer quality and production alone. It's when beats are able to shift from one direction to the other without hesitation that you can feel Proem's work the most. Electrical debris that speaks to your brain. Digital slices of rhythm that crash into your body. With N5MD's aim at bringing quality electronics to each listener, Proem is no stranger to this effect and does it quite well with his latest offering. Overall, Proem is set on "stun".. with his latest output focused on sharp, precise and emotive electronics its no doubt that Among Others will be rated high on the Top 10 lists for 2002. Among Others is sure to bring Richard Bailey the recognition he's deserved all these years. electronic music reviews

Proem. What’s to be said? A bit Aphexy, a bit Autechery, a little Texan, and a little vegetarian. While the likes of Arovane and Phonem have staked out their territory of abstract digital melodies, Proem delivers something warmer, something a little catchy - even "pop" - that you can go home to when you begin to feel a little alienated by the machines. Destined to be recognized as "the minidisc album," Among Others contains about half new material and half older, "lost" tracks. One might expect this to give the album a fragmented feel, but it maintains a solid, coherent flow. Proem is known for his skill at making cotton-candy-sweet melodies and fusing them with crunchy-chocolate schizophrenic breakbeats, and although Among Others delivers the goods, it’s also easily his mellowest release yet. The rhythmic science is turned down a notch, and everything gets submerged underwater for an almost ambient aesthetic.

The album opens with "001," which is basically a fractal-generated, beatless melody that builds slowly and soothingly. Like getting clean and dressed for a funeral, the track is over before you’re ready, launching perhaps not coincidentally into "Your Grandfather Is Dead." The title pretty much says it all - you’ll be curling up in your biggest easy chair, eyes closed, trying to take it all in and cope with the news. This isn’t just melancholy or nostalgia - no Boards of Canada hip-hop romp to be found on this disc - no, this is about sadness, a pain that rips your heart out and stomps on it, leaving you longing for lost memories and chances for new ones.

"Lukewarm Bath With Rubber Kitty" is a short interlude that leaves you a bit disoriented, wondering where the soap suds went, while "Eat Knife" is a brooding, Sunday morning breakfast. You’ll find the song easy to relate to if you’ve ever caught yourself gazing at your spoon instead of eating your cereal, noticing how the stainless steel glints in the sunlight and wondering why your life doesn’t. If you then went out for a walk in the city to try to reconnect with the universe a little, "Phat Shield" might be your soundtrack. "Three Days Before I Move" is a little mini-anthem that successfully captures the simultaneous, conflicting emotions of reflective sadness and exhilarating anticipation that come with a change of home. You’re loath to give up your comfortable patterns and the space you’re used to, but you can’t wait for the adventure of new discoveries ahead. This touches me especially on a personal level, having just moved from Minnesota to New York City only a year ago.

However, my personal favorite, and the first track for which, I’m sorry to say, I have no corny descriptive metaphor, is "Early Rings." Taking an interminably long time to build, it eventually edges IDM dangerously close to the melancholy trip-hop territory of, say, Portishead. And the melody, oh! The melody! I don’t know how he does it, but the final wraith-like ringing cloud song is sweeter than any lamenting violin I’ve ever heard.

"Slow Nods And Slippers," changes the mood and make you go completely introspective. It begins on the same, slow-nodding trip-hop kick that "Early Rings" dabbles in, and then quickly drags you down into the murky depths of an error-ridden, glitch-prone fun house mirror room of echoing voices.

Don’t worry, you won’t be lost for long. If you’re into the beats that ricochet off each other, bouncing around and making your ears work a little to catch them, you’re served a fine dollop of battling synth washes on "Crashmap." And if you thought that was easy, now you’re rewarded with the simple walk-in-the-park that is "Winter Delerium," a nice little hip-pop tune if ever there was one.

"We Are Going To Let You Go" heralds the ever-nearing end of the album. This is a sad occasion, marked by an ambient texture worthy of Aphex Twin’s Selected Ambient Works II being given the usual Proem slice ‘n’ dice.

But there are two more items before he’s done with you: Proem’s "Sunset" remix of "Your Grandfather is Dead" dissects the melody, drilling into it for a claustrophobic, atmospheric effect; and finally, Secede’s "Time Stretched Cow" remix of "Three Days Before I Move," a completely remade, bouncy piece reminiscent of µ-Ziq crossed with Four Tet, sure to leave you smiling. It certainly cleanses your listening palate so you can go right back to the beginning and listen to the whole album all over again. Would you want to? Of course you would - it’s Proem! re:mote induction

After a couple of MD compilations (cunningly MD1 and MD2) the American n5MD label returns with its first artist orientated MD. For the most part committed to MD releases and melodic electronica the label provide us with a 13 track release by Proem which meets both of those criteria with ease. A sound that is often subtle and restrained, but the detail that is there is richly timbred and expertly executer.

The first note is sustained to a point, then it repeats in slow, echoing steps, melodic depth evoked in 001. Slighter notes, bass strokes, work with this initial pulsing intonation, while a sighing level comes up with slight suggestion of a squelching edge. 001 continues to add more detail, fragile melodies playing across the top and the initial foundations. Blocked tones offer a beat work in Your Grandfather Is Dead, sprung lengths working along with those. Melody comes up, part sigh, part rounded note; development of percussive detail working up along side it's gentle flow. Notes expand, one two and echo for a moment then trip a repeat. More extended notes come in after a couple of cycles, along with squelching flares. Keeping the motion slow, considered and compact mellowness at work. After a while the beat work strips leading to a melodic resolution of this piece.

Deep bass breath sweeps us into Luke Warm Bath With Rubber Kitty, backed by the yowling dismay of the kitty in question. A short piece giving way to the up front and strong tones of Eat Knife. Well sprung bass line and echo, reverberant in note descriptions. Mechanic beats tickle the surface, pittering detail at work with the melodic development. In the foreground focusing on the bass notes and glitching rhythm, while the background detail carries the listener away. Phat Sheild follows as a welling of bass drift, a surface sensation through which chromatic depths can be witnessed. Wet rhythm plays with block beats, flurries mixing with the rise of wandering melody. beats are solid and consistent, kept at a certain level, separate from more fluid details. Beats vanish into a more ethereal section, before resuming in the midst of the swirl that envelops the listener with this heady combination.

Strident notes announce and echo to fade in the repeating cycle that introduces Three Days Before I Move. Blip signal working up to go with that. Tick beat steps in, followed by a chug of block beat, drop out and stumble in forms work through emergent melodic potentials. Flights of string detail, caught up in warm bass strums, adding to the density of this piece. Unfolding in a manner that allows this element to cut through as the main detail, persisting as the layers work their way out of this system. Earlyrings starts with a resounding bass drift of ominous atmospheres. Chill wash on the back of crisp stroke, leaving bass vibrations in it's wake. Low string plays slow notes while a tick tack work emerges. Bass plods play one two and then marked by a little snare flare. The beats are left, with a subdued bass line to keep the time. blossoming string work plays, chromatic edge showing a certain down played splendour. Seductive ease complimented by these rich tones and the slight beat details.

Sighing oscillations and vocal tints play through Slow Nods And Slippers. Bass deep and sustained with the plod and chirrup percussion going to work. This beat detail is small scale, humble within the immensity of the surroundings. Layers having to be introduced to distract the listener from the expanse they have been shown. Putter and chirp of beats, stutter and skip leading to deep bass notes and a string vibe. The stutter gains a dominant role which changes the feel, shifting focuses and forcing the listener to remain on their toes or be left behind. Cresting off that with a sense of triumph comes Crashmap, tonal bass waves building and allowing static tinged flares that bring about the rush of beats and patter. Half way through cutting loose with the clean edged melodies of cut up strings and rich depth.

Horn call cries of Winter Delirium, spread into repeat with a little back tracking and the addition of tap and pat beat work. Bass melody plays, sigh tinged notes delivering a rounded warmth, which transforms the track by increments. Allowing more complimentary melodic detail to add, squelching on some level. Over driven ticks play off blocks and emergent waves form sheet sounds, which vocal derived tones cut through periodically. You will be glad to know We Are Going To Le You Go rises as a melodic bobbling, crisp, echoed percussion keeping time. Flared motions and rotations develop this level, keeping the flow constant. Bass rises in a clearly swept line, sustained as drift through the work of more kinetic contributions.

Looping tone plays in Ygid Sunset (RmX), clipped by a degree as it works with the crisp electron puttering. Fade and drift motions make this piece irregular and subject to interrupts, yet it coheres in an overall flow, these aspects incorporated in the vibe that is established. Rain falls in the background, a wash to the tonal deceleration and fade. Among Others is concluded by Secede - 3 Days B4 I Move (Time Stretched Cow Mix), which loops inwards with little glitched details. A swirl comes up from within, slowing to a near stop then a melodic uncoiling, shot through with playful notes and a sturdy rhythm track. Little "ha" sounds repeat joyfully as the melody layers up. Bass works a low steadiness as the beats build over that, adding at points to the more playful aspects of this mix. xlr8r

The popularity of field recording fetishists Herbert and Matmos may still not help the MiniDics become standard household fare but that hasn't stopped the enterprising Oakland label n5MD from trying their hand at it. This ain't no gimmick, mind you: there's something poetic in the very intimacy of both the medium and this music. MD2, the follow-up to the labels inaugural release MD1, collects 12 tracks from IDM's rising upstarts, displaying enough inventiveness and delicacy to impress cynics and new-comers alike. From Jvox's music box lullaby to Lusine's mesmerizing beat tumbler, it's a top affair. Proems Among Others is equally impressive, full of delicate textures wrapped around pensive atmospheres and meticulous rhythms. Here's hoping there's more where this came from. And MiniDiscs for everyone! seven

I finally got my hands on this highly anticipated release by proem. from very first moments I could tell this one has the instant appeal that I did not feel right away on "negative" and "burn plate no. 1". comparing those to "among others" I can see where earlier work was at times rough around the edges, getting carried away with dry percussion manipulation.

I am trying to figure out why I like this album so much. first of all, there is the atmosphere – particularly dark and mysterious, filled with deep strings and mature melodies (this "dark idm" style further defines profile of n5md as a label). percussion textures is something that always has been proem's big advantage. here we have the same intricate world of heavy shifting beats, delays, pauses, irregularities and spontaneity, but at the same time it is all tightly mixed with the melody, remaining incredibly varied. the album never gets overly rough or broken, always staying "together", not going off into haywire idm wizardry. this dedication to music as opposed to sound-making is a sign of undeniable progress.

"among others" is a stream of music moving from cold cinematic textures filled with occasional percussion stutter to more traditional complex idm rhythms and atonal melodies. at times dreamy and quiet, at times broken and heavy, even noisy; combining intricate percussion non-linearity with soothing melancholic melodies, it always manages to draw your attention and keep it as you play this album again and again.

I have to say that I have not heard anything that balances darker emotions and rhythmic heaviness in such a seamless way. this is the best proem's album to date, and anyone that has been following the progress of the band can confirm that. purist

Two Proem albums in one year? I couldn't be happier. 'Among Others' comes hot off a flood of rave reviews for 'Negativ', the excellent Proem full length released earlier this year on the Merck label. Where 'Negativ' concentrated darkness into intricate, bubbling/spurting beats and thought-provoking melodies and synthlines, 'Among Others' dives further into the gloom, keeping the schizo beats mostly at bay and relying more heavily on complex bass patterns and moody atmospherics. Right from the start, the mood is set, daring the listener to dim the lights and let the music flow into the ears, saturate the bloodstream, and burrow into that part of the brain that might secretly thirst for dejection.