Scuba – ‘Claustrophobia’ LP [Hotflush]

It’s been almost 3 years since Hotflush boss Paul Rose aka Scuba released his last LP. He didn’t go silent though, after a string of less notable releases and a couple of decent EPs the Berlin-based Londoner is back with his fourth album, Claustrophobia.

[soundcloud url=”https://api.soundcloud.com/tracks/192085179″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]

Scuba tends not to stick with one thing for too long. After being part of the early dubstep expansion he turned his attentions to techno and house, successfully experimenting with elements that ensured he became one of the biggest names in the UK scene – his recent 2014 Phenix triptych, for example, just saw him flex some tough techno muscles as well as exposing his more melodic beats.

At first listen, the ten tracks on Claustrophobia are Scuba’s most diverse productions to date. Drawing elements of glistening synthesis and noise from previous works to ensure this LP feels distinctly like a Scuba release as oppossed to being “just another techno album”.

His experimentation with noise and distortion is especially apparent on Television and Levitation. These were made for the club; both tracks feel incredibly tense and enclosed, with the latter especially feeling rather oppressive due to sheer bass weight. Drift and Transience meanwhile approach things in brighter fashion. With a full focus on crisp and beautiful rhythmic movements rather than percussion, these intervals (and closers in the case of Transience) set themselves apart to become the LP’s most unique and memorable moments.

One key influence for Claustrophobia came last summer as Scuba prepared for his set at the intimate techno festival Labyrinth. Unless we count amongst the lucky few attendees on that autumnal afternoon, the closest we will get to feeling the vibe Scuba felt on that day is with Needle Phobia. An appropriately seasonal track with whispering bird cheeps and sedating synth pads that create a natural Zen of beauty that quickly turns into wonderment when that chugging kick stomps its way across a chimney Japanese influence.

All I Think About Is Death is amongst Scuba’s more immersive works, and shows off how much he has matured since 2012’s Personality. A focus on subtle progressions on yet another genre bending venture that shows a total disregard for sticking to one style shows exactly how versatility on an LP should be done, cohesively.

Family Entertainment dedicates itself solely to atmosphere, with pretty tonal experimentation working alongside juxtaposing field-recorded ambience. It’s certainly twisted, but paves the way nicely to Black on Black, a thumping, noisy ride of industrial intensity. PCP is slightly less extreme with its smooth percussion providing bedding for growing ambience, though the blaring synthesis is certain to exhilarate most dance floors. Cleary the time Scuba has spent living in Berlin has rubbed off here, with these two alone being some of Scuba’s finest angular works for quite some time.

Claustrophobia is suitably titled. Tracks feel oppressive, noisy and intense, though it’s not all bleak. Even if for short moments, beauty tries its hardest to shine through and make light of situations, but an overpowering darkness always takes over. This is Scuba back on track, with his strongest album to date. Take a listen to more tracks below and pick up your own copy of the album here.

Words @Diegetics

[soundcloud url=”https://api.soundcloud.com/playlists/90231941″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”450″ iframe=”true” /]