Lee Bannon – Alternate/Endings
Ninja Tune: 2014
Lee Bannon (born Fred Warmsley) has built a well-deserved reputation for eclecticism over the past few years. Sacramento-bred and Brooklyn-based, Bannon is perhaps best known for his work as a regular producer and touring DJ for Joey Bada$$. His full-length album Fantastic Plastic—released in 2012 by Plug Research—was a schizophrenic set of mostly short hip-hop instrumentals, and featured collaborations with rappers like Del the Funky Homosapien, yU and Chuuwee. He has also made shadowy R&B under the name First Person Shootr, and in the past year released a string of projects that cover a wide range of ground, from the “vampire crunk” (in the words of Spin) of CALIGULA THEME MUSIC 2.7.5, to the more ambient Never/mind/the/darkness/of/it…, and the exploratory Place/Crusher. Now, with Alternate/Endings—his debut full-length for Ninja Tune—Bannon has released a dusky set of jungle, drum ‘n’ bass-inspired tracks.
Alternate/Endings begins with the harsh electronics, rapidly tweaked and repeated vocal sample and predatory drums of its caustic opener, “Resorectah”. Around one minute into the tune, Bannon introduces an atmospheric synth to the mix, then drops the drums almost entirely for an ambient middle section of ethereal vocals and spare but pounding percussion. From there, Bannon deliberately builds the song back up, only to break it down again into a final ambient wash.
Most of the elements that define` “Resorectah”—its complex, breakneck drums, abrasive industrial timbres, dark ambient passages and vocal wisps—are recurring characteristics throughout Alternate/Endings’ 12 tracks. On the whimsically-titled “Phoebe Cates”, Bannon combines heavy layers of sound, a high-pitched repeating melody reminiscent of something from a horror film score, and a lovely, almost childlike vocal sample into one of the most immediately accessible cuts on the record. On the penultimate track, the nearly 10-minute “Readly/Available”, Bannon repeats a nervous descending melody over the song’s first six minutes or so, then transitions into a cinematic, piano-driven dirge for the final section. On “Value 10”, which Bannon previewed last month, he employs cloudy electronics, a funky, rhythmic vocal sample, steady percussion, and a field recording of a New York City cab driver made with his iPhone.
There is something a bit claustrophobic about Alternate/Endings, and really all of Lee Bannon’s music. Perhaps it comes from his predilection for relatively simple, circular melodies, or the bleak mood that permeates most of his work. But the songs on Alternate/Endings are also, in their way, rather freewheeling and diverse; Bannon’s compositions shift and morph unexpectedly, and they have moments of chilled and surprising beauty—like the solo piano that opens and closes “216”—that stand out amid the murk. Lee Bannon has yet to release a great, cohesive project, although Place/Crusher, Never/mind/the/darkness/of/it…, and now Alternate/Endings have all been strong offerings. Regardless, Bannon’s voracious appetite for differing types of music, impressive prolificacy and clear dedication to his craft make him one of the most interesting producers rising today.
3.5 out of 5
You can buy the album on Amazon.