Scuba - Triangulation reviews
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| Popmatters |
 Never short on atmospherics that essentially reproduce a night in a shuttered subway station, Paul “Scuba” Rose’s shapeshifting tracks are in a class of their own. While his 2008 debut full-length A Mutual Antipathy is largely powered by bulky half-step rhythms and glacial chord changes, it’s one of the first documents to map out the dubstep-techno meld on the mind of more than one producer back then. The terrain covered on Mutual is strewn with whirling samples and manipulated field noise, as Scuba tends to dress every recording with layers of oddly positioned sonics. Two years later, his equally subterranean Triangulation is guided by an even more prominent relationship with techno. And although the same attention is paid to ambience this time around, Triangulation‘s accentuated dark house, drum ‘n’ bass, and garage land further from Mutual than they do the celebrated dubs and remixes that followed his breakout album.
Triangulation convulses with jittery breakbeats, and its downtempo moments are abundant with ghostly nuances. Indeed, the sound fragments tunneling through this set play as big a role as the distinctive drum programming and progressions do. Even amid the mass of tentative drones that introduce the album—“Descent” (obviously)—rustling clashes punch in and out before the chilly techno branded “Latch” makes its entrance. Scuba blends each track to the next, and when adjourning synth trails or radiant, swelling chords don’t slip into the front end of a subsequent entry, it’s vinyl crackles and random room noise marry the two. This pacing and mixing mastery, marked recently by Sub:Stance (featuring Triangulation‘s “Minerals” and pre-LP single “You Got Me”) or the Mnml Ssgs mix under Scuba’s SCB moniker, offers hypnotizing, cinema-sized afterburn....full text |
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| Drownedinsound |
Only a year ago, you could have been forgiven for being completely unaware of Paul Rose’s Hotflush label. Save those paying close attention to the community surrounding dubstep and its many variants, its output had barely made a dent in more general consciousness. The last nine months or so have seen this state of affairs shift quite spectacularly, riding off the back of the label’s two main crossover concerns - Joy Orbison, he of BBC-baiting ‘Hyph Mngo’ fame, and Mount Kimbie, the label’s house band du jour. Both have proved to be aces in the deck, the latter’s slow-burning and sweetly melancholic electronica a welcome reminder to those outside its obsessive fanbase that dubstep can have a heart as well as balls.
His ubiquity is such that it’s pretty hard to believe that Joy Orbison was a total unknown this time last year, but his sudden ascent should hopefully shift the spotlight further towards Rose himself. As well as running Hotflush and its sister imprint, he’s been making subtly beautiful dance music as Scuba for a few years now. As a Berlin-based artist – and one who runs a monthly club session in the cavernous chambers of techno mecca Berghain, no less – his music is obviously informed by that city’s deeply ingrained dub and techno subcultures. But married to early dubstep’s oppressively urban atmosphere, his debut album A Mutual Antipathy retained that genre’s slower traits, relying on an impressive host of remixers to twist it into more propulsive dancefloor shapes....full text |
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| Boomkat |
| Scuba finds his bearings amidst the pillars of dubstep, garage, techno and electronica on his outstanding second album. The last two years since the release of the landmark 'A Mutual Antipathy' album have been something of a golden period for the head of the Hot Flush clan and resident at Berghain's Sub:stance event. With a probing curiosity and focussed remit, he's matched a clutch of previously incongruous dancing styles with a subtlety and class that's ensured respect from all corners of the club. 'Triangulation' guarantees that position with a superior set of future classics, connected thematically by impressive levels of electro-acoustic spatial technicality and divided only by an insistence on exploring multiple tempos and the freshest riddimic functions. 'On Deck' for example, is his nod to the burgeoning Afro-Funky house germ that's infecting everyone, executing kinky kick/snare syncopations with typically Scuba-styled reinforcements. Everything here just feels like it's been engineered to some highly exacting standards, the shuffle-tek garage engines of 'Three Sided Shape' and 'Glance' have been tuned to the nth degree, while dynamic synthlines open and unfurl with precise movements on 'Heavy Machinery' and the masterfully spacious mixing throughout proves that the devil has been well worked into the detail....full text |
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