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Martin Christie, beat-box poet and purveyor of electronic music open mic's across the country brings us his newest outing, 'The End Of All Things', brimming with snappy chiptune percussion, bitcrushed wordsmithery and tongue-in-cheek political commentary. We kick things off with the pocket-operated pinging envelopes and panned percussive glitches of 'No Stranger To Controversy', as hypnotic and propulsive a beginning as you could hope for. The machinated and industrious instrumental backline providing a stark contrast to the warmingly frank lyrical themes. 

The following duo of 'All The Worlds Strangers' and 'Smells Of London' clearly owe a little more to classic singer-songwritery than the opener, with the former holding a frankly jaw-dropping falsetto amongst it's warmingly full-sounding folky soundscapes and perfectly recorded sparkling acoustic guitar, and the latter edging more towards mellow indica-dominant downbeat, flecked with spikes of snares punctuating the solid synth bassline. 

As we move into the latter half of this delightful mini-album, Christie shows his diverse range of skills, with minimalistic vocal synth-pop (Hurricane Desmond) and pulsing, machinated synth swirls coupled with bit-crushed squeals and blipping, off-kilter percussives (Fighting Men). Finishing things off with the killer closing duology of 'Silent Spring', redolent of classic folk-pop moving slowly and gracefully into the end of all things, 'The End Of All Things' moving back into glitched-out Italo territory for a finishing and frankly spine-tinglingly effective closing salvo. 


STAFF COMMENTS

Barry says: Christie is both a clear talent and undeniable bastion of the DIY electronic scene, offering a keen ear for melody and an understated and frankly astounding vocal accompaniment. Superb stuff.


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