WORDS: Oisin Leonard
Those familiar with innovative electronic music producer Nicolas Jaar’s solo career up to now — including the stunning Space Is Only Noise — will already be aware of the astoundingly forward-thinking nature of his work and, above all, his remarkable attention to detail. Darkside, which sees Jaar teaming up with guitarist Dave Harrington, first drew breath with the release of an inconsistent, albeit intriguing eponymous EP. This was followed by a somewhat more perplexing project entitled Daftside which saw the eccentric duo remix Random Access Memories in its entirety with very mixed results.
Psychic is Darkside’s first album proper and their most accomplished work to date in terms of its scope and musical consistency. Opener Golden Arrow creates an intense, nocturnal mood from the outset with its downtempo beat, understated vocals and sporadic bursts of synth setting the tone for the rest of the album. Instrumentation is layered over the course of this 11-minute opus, with liquid, spidery guitar hooks adding texture and a deep, lilting bass line further cementing the track’s now indestructible groove. The album’s defining musical statement comes in the form of a gorgeous, high-pitched descending synth chord progression. This constitutes the track’s deftly executed ‘drop’; a euphoric moment that duly rewards the patience of the listener in sticking it out for 9 minutes.
This mastery of tension and release is something that Jaar has been cultivating throughout his career. Many tracks on this album contain a clever, lengthy build up to an intense, song-defining moment that transcends what has gone before. Jaar appears very comfortable playing around with this device and this confidence is manifest in the darkly grooving track Paper Trails. Reverb-drenched guitar sketches are set to Jaar’s breathy vocal on this track, which features a build up that seamlessly blends into a very unexpected final rendition of the track’s chorus.
In fact, this constant sense of unpredictability is integral to the appeal of the album. On first listen the arrangements feel almost chaotic; synth sounds, vocal lines and bursts of static emerge and disappear in a seemingly random fashion, diverting attention from the rhythmic foundation of tracks such as The Only Shrine I’ve Seen and the brilliantly titled Freak, Go Home. Repeated listening reveals that these songs assume a certain logic all of their own; every sudden return to a central melodic or rhythmic theme is perfectly timed to take place just before the track loses all sense of focus.
What makes Psychic so special is Jaar and Harrington’s unique sense of balance. Tracks feel loose and spontaneous although close attention reveals how the myriad instrumental subtleties are meticulously arranged. Sparkling, Pink Floyd-esque guitar melodies act as a stunning counterpoint to dark electronic soundscapes, while instrumental hooks feature in equal abundance to surreal moments of ambient experimentation. These elements coalesce to form a breathtakingly immersive album that raises the bar for electronic music producers the world over.
