Review: Enduser ‘Unquiet’
It’s been a good ten years since Enduser, aka Lynn Standafer (originally from Cincinnati, Ohio, now based in Stockholm, Sweden), last released a full-length album in the form of 2016’s Enter To Exit. However, this doesn’t mean he’s remained idle, as can be testified to by the numerous singles, EPs, remixes, and collaborations that have since emerged.
The latter is an especially prominent part of Enduser’s career which has seen him work with the likes of Bill Laswell, Justin K. Broadrick, The Bug, Panacea, Dr. Israel and New York hardcore crew Terror. He also co-founded Sonicterror Recordings with Line 47 under which he’s put out some of his own works.
The tracks on Unquiet, his tenth release according to Enduser, are reportedly ‘all quite different but they all tell a little story about my life here in Sweden… and have some light and some dark’. The record took a whole two years to write and record, and ‘captures its emotional range through sonic contrasts – between minimalism and density, clarity and distortion, control and collapse.’
Trial By Fire beautifully blends Enduser’s trademark drum ‘n’ bass sonics with what sounds similar to Led Zeppelin’s No Quarter, especially that track’s use of an analogue synth, giving it a sense of mysticism, an excellent start. Turning Point (Lost Mix)has an otherworldly Jean Michel Jarre feel that transports you to other dimensions. The ‘New Age’ sounds are of the kind which one can embrace, as opposed to the pretentious, heavy handedness of say Enigma.
Northern Tribe takes the listener down a more haunting route with nods to early ‘80s post-punk style atmospherics (think The Cure’s Seventeen Seconds), giving it a deliciously icy demeanour, while To Address has a slightly ethereal dream-pop sensibility ala The Cocteau Twins, obviously this was always going to appeal.
beautifully blends Enduser’s trademark drum ‘n’ bass sonics…
Broken Branch is the first of three tracks to feature DJ Patrick Currier and packs a good deal more punch than its comparatively introspective predecessors, the EBM and industrial inclinations giving it more of a danceable quality. Waiting (Decay Mix) injects a Kraftwerk synth-pop charm into proceedings, and Street Lamp (Album Mix) has a gorgeous shoegaze vibe such as one might associate with Slowdive’s classic sophomore 1993 release Souvlaki, a standout for me.
Where I Found You (Album Mix) takes a wander down ghostly trip-hop; all that’s missing is Portishead’s Beth Gibbons. A little experimental folk is also slipped in for good measure (think Plum Green or Marissa Nadler as reference points). Whenever I think of jungle music, I can’t help but chuckle as Ali G immediately comes to mind. Luckily Unreal avoids such pitfalls by delivering something far darker, dystopian and hence appealing. One could even venture to say that industrial hip-hop is also utilised, excellent stuff.
The next three tracks – Where I Found You (Homemade Weapons Remix), Northern Tribe (Nowan Remix)and Cabin Fever (SCRWZ Remix) – are remixes which, according to the promotional notes, offer a ‘distinct reinterpretation of the record’s core material. Their contributions add depth and dimension to Unquiet, reframing its sound palette and exploring new perspectives on the themes introduced earlier in the album.’ Whilst certainly decent, I didn’t necessarily feel that I’d have been missing out were they not included. Finally, Looking Out, a digital exclusive track, concludes proceedings in an In Arcadia, John Carpenter-esque ambient drone fashion, spectacular.
Drum ‘n’ bass, if the truth be told, isn’t my listening go to, I tend to find it a little one-dimensional and tedious. However, its incorporation on Unquiet with other musical styles offers some much-needed variety, thus making it more appealing to even an old sceptic such as myself.
Label: Decay Recordings
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Scribed by: Reza Mills
