SummaryIf you had to define what it is about Offshore's music that makes him stand out a little from the the whole post-dubstep brouhaha, it's that he combines an ability to make big, vicious, system-shaking tracks that also sound human - eccentric and handmade and unique. Using the space given him by the full-length and informed by spending more time listening to Gang Of Four than the latest EDM/ trap sensation, Ewan Robertson crashes together styles and instruments and ideas like an eccentric 19th century anarchist pastry chef given access to a Moulinex. The result is exhilarating, funny and cutting edge, yes, but also deeply affecting. There aren't that many electronic musicians who make music that sounds so personal, so much an emanation of their own personality.
So while a track like "Downer" has the kind of wide-screen emotiveness that we've come to expect from this Aberdonianin- London, "Venom" buzzes with rhythmic drive and off-centre malice, "Slip" is epic hip hop and "Bake Haus" itself a kind of deconstructed slow-jam. In between you can find post-rock, static and malfunctioning computers. Robertson plunges tracks, sounds, styles and moods together here into a continuous piece of music, where the individual tunes are less important than the way in which they're strung together. It makes for a short, visceral and, at times, beautiful suite of music which should establish Offshore as a key name in new electronic music and further build interest in his full full-length (this only being a palette-whetting mini-album) which is due next year.
The buzz around Ewan Robertson aka Offshore has grown and grown since his debut release with Stuff/Numbers and his two EPs on Big Dada. Combining elements of grime, dubstep, hip hop, early electronic music and more into a unique, off-kilter sound, Offshore won't stay secret much longer.