Elysia Crampton follows up last year's epic American Drift and reissue program being channelled through Total Stasis with the bass-heavy mutant club trap of Demon City, featuring sterling collaborations with Halcyon Veil's club connoisseurs Rabit, Why Be, Chino Amobi and Lexxi.
Describing the vibe of the album as "Severo style" ("severo" means "severe" in Spanish) Demon City is a kaleidoscopic viewpoint of post-genre internet electronica, a style without boundaries that Crampton describes as 'an accumulation or accretion, an ongoing process of becoming-with, made possible by the family-networks and communities that have inspired and sustained our survival and collective search for transformative justice.'
Though it is a solo album, the collaborations with Rabit, Why Be, Chino Amobi and Lexxi really show the parallels between the scenes they occupy and the forward thinking approach that hangs as a narrative throughout each of their solo work. With these guest spots Demon City becomes a sonic world that displays an urban nonplace, blurring the lines between the hip-hop, grime and experimental computer music, constructing compositions in an almost painterly approach that is a fine balance between information overload, and precision, creating a listening experience that transports you in to a disorientating tropical parallel universe.
Using the the trap-rooted spinbacks on American Drift and the RNB ambient interludes of The Light That You Gave Me To See You, Demon City builds upon these ideas to create a vast William Gibson style urban sprawl that pushes the border of what electronic music in 2016 can sound, feel and exist as. In doing so, it stands as an album of varying sounds and styles that few others in the world it occupies could even begin to dream of.