It was only this summer, that I first listened to Dave Huismans’ debut under his 2562 moniker, 2008’s Aerial. As I didn’t want to make that mistake again, I followed all news about its successor and eventually got hold of a promo copy of the new album Unbalance.
Back in 2006, I first ran into Dave’s work through his self-distributed album In Dog We Trust, which he released under the Dogdaze moniker. At times it sounded like Mr. Oizo making hip-hop beats, but it also sported a rough broken beat style somewhere between Son of Scientist and fellow Dutchmen Rednose Distrikt. On the first 2562 album, Dave adopted the style that is often referred to as Bristol dubstep, fusing dubby techno with garage beats, a style that got wide attention through Martyn’s Great Lengths album. It’s maybe no surprise that Martyn’s label 3024 previously released some of Dave’s music on 12-inch.
Well, it’s 2009 and the all new album Unbalance, which is the subject of this post, is about to get released. Its artwork struck me the moment I saw it, but the true masterpiece is pressed on the disc. Dave Huismans managed to put together all of his influences on this record, scattered snares, deep moody synths and dubby basslines. The record will (and can) still be labelled “dubstep”, but when you listen to the pieces the music is made of, you will hear more than just that.
2562 doesn’t follow the minimal approach of many other dubstep producers, the beats are plentiful and appear in many shapes. Some broken beat influences can be heard on tracks like Flashback or my very favourite, the title track Unbalance. Lost can easily be confused with a Martyn production, while the keys on Dinosaur are evocative of classic Domu or Rednose Distrikt material . Another favourite on the record, Who Are You Fooling, features keys mellow enough, they could as well be taken from a Moodymann or Theo Parrish record.
04. Like A Dream
07. Superflight *
09. Who Are You Fooling?
11. Love In Outer Space *
12. Escape Velocity *
* CD exclusive tracks Who would have thought that after Silkie’s City Limits and the already mentioned Great Lengths, another dubstep album claims a spot among the best albums of the year. Albums like these not only prove the genre’s versatility, but can also help to improve its reputation and acceptance among the remaining sceptics. If by the end of 2009 the genre hasn’t grown on you, it probably never will.
Most mail orders seem to have the record in stock starting today. I’ve spotted both CD and triple LP on Rush Hour, but Juno and Boomkat both have it in stock as well. A digital release was spotted on Juno Download.