The word “kaleidoscope” derives from Greek words that signify a “beautiful form to see.” In English, “kaleidoscope” denotes “a continually shifting pattern [or] scene.” A kaleidoscope in this sense is an appropriate metaphor for the electronic genre, a “scene” that too “continually shifts.”
The science of a kaleidoscope’s reflection of the objects contained within the tube dictates that these enclosures—beads, sequins, mirrors—will never appear in the arrangement that was previously displayed to the gazer. The visual patterns that the kaleidoscope holder looks upon will be similar, but never perfectly identical in design, given the tube’s rotation. The objects enveloped therein shift, and the reflections follow suit, creating stunning sights that entice the viewer to look once more into the tube, to see just how the arrangement will appear next.
Looking into an artist’s musical catalogue is not unlike looking into a kaleidoscope–take Claptone’s as an example.
Seeped in soul, the modern house maven’s eclectic and entrancing range of house sounds have long pervaded house circles, a diffusion that can be credited to the release of the enigmatic performer’s debut album, Chamer, in 2015. Rather than beads, sequins, and mirrors, Claptone’s catalogue contains a series of electronic elements signature to Claptone’s craft: four to the floor beat arrangements, a predilection for percussive emphasis—think “The Drums”—and rich instrumentation, darker, noir tones, and haunting vocal features that linger in the ears of listeners long after the given track has concluded.
With the release of Claptone’s sophomore outing, Fantast, fans of the Venetian masked producer gain the opportunity to observe Claptone’s catalogue once more, to see the components of Claptone’s inimitable sound contort to display a new sight, a variation of these sonic constituents so classic of Claptone’s style.
The clear esteem with which Claptone holds a strong ...
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