The second release on TMSV’s Perfect Records, a label based around the premise of embracing the beauty of imperfection, comes from Danny Scrilla, who’s production I regard as highly atmospheric and well-rounded. Not only in the sense of controlling the technical aspects, but his sounds seem bubbly; filled with moist air. I’ve wondered if his sets form an atmospheric story as his style of music is not quite the usual journey. Perfect Records is not bound to bpm either – this record consists of three tracks, Mirrors, Can Of Worms and Wipeout, each running at 169, 160 and 170 bpm respectively.
‘Mirrors’ is ethereal. It’s soft and majestic. Alis‘ soothing husky voice engulfs and calms you. It’s beautiful listening music. Songs like these soundtrack memories on warm summer evenings, or get you through those slower melancholic days. Danny Scrilla noted himself that this EP was his first release with a vocalist on it, which took him ages to mix down to get it the way he wanted. I think he’s spot on in using the vocals not just as a motive, but also as an instrument. The vocals are not in the foreground too much, but still remain as its important structural role in the piece. Small FKJ-like vocal chops drift in and out while signature synths buzz and boop around. This track is magenta.
‘Can Of Worms’ is a weird one, and I love it. When I first listened to the promo this one stood out to me. I love wacky, funky, cranky and chunky sounds that are ‘entities’. I love the hat-work on this track. Inorganic panning in organic rhythms. I can’t decide if the main sound is amazing or annoying – its off-beat repetition and wonky panning is brilliant, you can dance wildly to it. I love being confused by music. Nothing is as boring as predictability. I feel like this is what it would sound like if highway tunnels were vertical. The drums are crispy and seem to slightly break something upon impact. Conceptually, ‘Can Of Worms’ is the most interesting track on the EP.
‘Wipeout’ is the track I’d throw into a beats set because of its usability. It’s
perfect handy for that moment in the mix where the beats aren’t rough enough, or an interesting change in a liquid set or maybe to switch dubstep up to jungle. The main lick reminds me of the motorcycle sound on those old Casio keyboards, but with Scrilla’s control plastered all over it, of course. Good shit. Scrilla fires the synth past you in a laser-y fashion, which maintains interest by it’s rhythmic diversity. For some reason, I love the claps in the transition. They’re so genuine. There’s some interesting sound design towards the end as well, but it’s mainly guided towards being mixed in a set. Each track on this EP fulfils a completely different role. ‘Wipeout’ is the most useable, ‘Can Of Worms’ is the most interesting, and ‘Mirrors’ is absolutely beautiful as an atmospheric whole.