Check out the latest album from self-release extraordinaire, Davwuh, another concept album titled Hong Kong.
With this album, and others, Davwuh cements his place as one of the most underrated producers I know of. Each album is well crafted, putting together a great narrative of whatever story he's created. The albums have perfect flow, and they work best when listened to from start to finish in one session, a rarity for garage releases.
Whilst his immersive pads and rattling drums are impressive, what Davwuh does better than most is his leftfield melodies, which very few producers seem to be confident enough to try, if they even have the ability at all. Crucially though, they aren't complex for complexity's sake, a risky move when melodies like this can turn into guitar solo-esque overblown nonsense. Davwuh keeps it subtle, but still stands out.
Don't just clock opener Still In Hong Kong and assume you've got another downcast, ambient-led bass music album. Davwuh knows when to up the ante and put a smile on your face, something that's primarily "listening" music that would work equally well in the dance.
Hong Kong, more than other releases he's put out, seems to gather his myriad influences into one place, cohesively grafting together HYPH MNGO era Joy Orbison, with 1992 hardcore, turn-of-the-millenium grime, the man Burial era Burial and still-interesting dubstep with ease.
As far as I can tell, this is mostly new pieces, but some of you may recognise pieces such as the stark Iridescent Sky. As always, he's not asking for much for his album, so you can't really go wrong.
Grab it on his Bandcamp page now.
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