Trampique – Face To Face (Dark Clover, 2014)

Are you sure you’re ok? Do you want me to leave or something?

Alexandr Frolov of Volor Flex has had a difficult time of 2013 by the sounds of things; briefly putting aside his well known Volor Flex alias for the time being and producing his debut LP under Trampique (the title an allusion to his hometown),¬†Face to Face¬†is a downtempo, Future Garage chronicle of his year, month by month, and what a bleak affair it is. Evoking some of the same musical sensibilities as others in this vein like Clubroot and Burial, Frolov carves our journey through shuffling hi-hats, irregular rhythms and crooning synth drones. And forgive me but this album does call for a track by track breakdown, it’s just how the story unfolds.

“January” is stoic and quiet, burbling little muffled guitar pickings alongside its bleak expanses of reverb, the slow trudging and crunching through snow heard delicately rising out of the darkness. It’s a lonely and cold opening, and I want to say that things pick up but that’s not entirely true. “February”`s suppressed sub-bass lines are certainly more empowered in its initial sequences, a burst of energy at the start of the month, but it falls away to sparse, downtrodden piano tinklings and moaning winds as we’re left to contemplate alone. “March” welcomes the prospect of and imminent Spring in its shuffling beats and tolling electronica, pushing at a brisker pace in an attempt to breakaway from these Winter fugues.

Unfortunately Spring and Summer appear to be every bit as unrelenting; “April” gives us something of an insight into its darkness with its elongate drones and spoken word lines; “the reason I came back to town was for you”, they admit, “do you ever wonder if thing’s might have been different between us?”. For the first time the music really opens up to us and we get a slight insight into the melancholia being displayed. “May” rises out of the surf on its cruising idiosyncratic beats and shuffling rhythms; it’s grooving and driven but ultimately feels distracting and self-appeasing, that fun night out before the regret seeps in the following morning. And so it does in “June”, our female companion whispering out of the darkness with a faint air of concern. It synths flutter and roll before descending into a judgmental, crackling void of vague regret, of expectations not met.

Our microcosm continues to expand as “July” feels the need to clear its head, taking a night stroll through the still light evenings as it churns out the same idiosyncratic riff that underpins his life, but it’s slower and more tympanic, walking slowly and plodding along with its head bowed. “September” also has a similar feel to it in its later moments, albeit more sluggish and suppressed, buried under a drugged haze. “October”`s 2-step beats reignite some of “May”`s bombast and drive, although this time it’s entirely more headstrong and deliberate, advancing and empowering ourselves through its pulsating, flowing grooves. It’s reinforced in “November” with some more dubby moments supplementing the sparkly and lightweight electronica it’s paired with, fluttering arpeggios alongside the Burial reminiscent vocal fragments.

By the time “December” comes around we’re ready for the year to be over; conjoining some of the quiet minimalism of “April” and “January”, its empty xylophones tinkle like stars appearing in the enveloping night, its drones cool and resigned to their fate. “I have made a mistake”, she says, “you can’t take me”; a sad parting shot that, despite all we did and regardless of how proactive we were in the preceding months, our dreams become delicately crushed once more as she says no.

Frolov certainly shoehorns a great deal of time and emotional content into an album that’s only 30 minutes long, and that’s why I love this release; it’s short, bitesized and potent, not to mention deliciously introspective. It’s truly difficult to fault this record; I love this particular brand of Chillstep and Future Garage and I’ve been looking for something akin to this for quite a while; the fact that it tells such an intimate and varied story across its span is really just the icing on the cake for me. Check it out.

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