Shelley's on Zenn-La

On {|Upstepping|}, his 2016 solo LP, innovative cellist {|Oliver Coates|} created highly engaging, visceral dance music using little more than the sound of his primary instrument. {|Shelley's on Zenn-La|} has more elements, including vocals and synth... Read more

On {|Upstepping|}, his 2016 solo LP, innovative cellist {|Oliver Coates|} created highly engaging, visceral dance music using little more than the sound of his primary instrument. {|Shelley's on Zenn-La|} has more elements, including vocals and synths, but it's still an exercise in getting the most out of self-imposed limitations. {|Coates|} explores his '90s IDM and techno influences more thoroughly here, with hyper-chopped drum programming on some tracks and steady, blissed-out beat repetition on others. On top of all of this, it's also somewhat of an abstract pop record. A Church features gossamer vocals calmly floating over the plastic bass and flanged breakbeats. On the stunning Charlev, {|Coates|} transforms his instrument so that it nearly sounds like a flute, while cryptic vocals are spoken over a steady pulsation and cosmic arpeggios. Cello Renoise has playfully choppy {|Aphex|}ian drums, nicely complementing the gorgeous cello melodies and softly cooing vocals. Capping everything (not counting the CD bonus track) is Perfect Apple with Silver Mark, an IDM odyssey carried along by interlocking beats and an invigorating sense of drama. More than just a worthy successor to {|Upstepping|}, {|Shelley's on Zenn-La|} reconfigures both modern classical and electronic dance music, producing a wholly original work which knows no boundaries. ~ Paul Simpson Less