Today, I’ve been allotted premiere privilege from Adapted Records, to unleash the latest full length EP, Ain’t That a Glitch, from the dedicated multi-instrumentalist/producer John Scofield, aka Beat Fatigue.
In the six year lapse since Dave Tipper’s seminal Wobble Factor, we’ve seen an international wave of producers expand the sonic palette of the glitch “genres” towards incredible diversity. Nowadays, glitch-hop producers come in all shapes and sizes. Development of the genre hasn’t exactly been to greater complexity however, we’ve since endured “funk step” and other repetitive, commercially viable forms which American promoters insist on booking for live events.
With Ain’t That A Glitch, John Scofield sets another impressive bundle of tracks against this stale air adding to an established back catalog of consistent, quality productions. Few producers can boast the incredible release frequency of Fatigue, who is good for an EP every few months.
If you’re familiar with the glitch genres, I’m sure you’ll agree that Beat Fatigue and his organic, instrumental mixes, are owed major props for solidifying the “Glitch n’ Blues” sound with enthusiasts worldwide. Many producers, especially in Glitch-hop, are locked into and dependent on the DAW, narrowing their attention to percussion, sample flips, and synthesized elements only. Fatigue’s proficiency on guitar allows him to escape “the window”- we hear the influence of instrumental composition in full force, his arrangements are not confined to the digital frame.
Not to say Ain’t That A Glitch lacks a hefty electro side. The title track is a perfect representation of Scofield‘s ability to lace squelchy, neuro madness with guitar hooks, arpeggios and effected voices. A similar formula dominates “All that Muting”, and “Quarterbouncer”, tracks that fire up with furious intro fretwork into a smooth filter transitions and subsequent neuro drops. Still, I hesitate to brand Ain’t that a Glitch as a guitar-centric piece; my favorite track on the EP, “Slashy Cricket” features little string action, and is mostly percussive, beyond the piano rolls and horn stabs which earmark hardcore funk.
Ain’t That a Glitch is one for the library, as well as the dancefloor. The attitude Beat Fatigue injects into his tracks is best condensed in the immortal words of Del The Funkee homosapien, which we here extract from Gorillaz “Rock the House”-
“I got the balls to rock the salsa, funk the blues-a, any groove to make you move, cause taking you to another landscape, is my mandate.
Beat Fatigue’s Ain’t That a Glitch is available today for purchase on all major platforms through our friends at Adapted Records.
Electronic music is the only art form that has given me unrelenting hope for the survival of our species. I study criticism in the north country and track the scene in an effort to put to words the familiar feelings that escape most of us and are reduced to terms of “awesomeness.”