Elysia Crampton leaves behind the walls of the Demon City for her fifth album of genre-bending electronic music in three years, Elysia Crampton. Landing on 100 copies only yellow coloured vinyl via the record label/interactive art gallery imprint Break World Records.
Continuing the now trademark Elysia Crampton fashion of spinback electronics and RNB vocal licks funnelled through some fuzzy, rather Current 93 medieval channels. Elysia Crampton is like hitting the fast-forward button on your most cherished memories of that best house x trap x musique concrete x new age x DJ-tagged rap mixtape from 2006 you think you may have dreamt up, but truly swear it actually existed. This melting pot of styles is the perfect canvas for exploring the album's themes if the experience of pushing boundaries between cultures and identities, itself drawing motifs from the ephemeral presences which create a sense of comfort and belonging in displaced peoples.
There are moments of madness such as the slapdash hip-hop, almost Eski sounding in its approach to rhythmic tendencies on tracks such as Solilunita. While doom metal even gets a look in on Moscow (Mariposa Voladora) which shows the true extent of the no borders within genres attitude of so many contemporary electronic musicians, an attitude Elysia has been at the forefront of since her first E+E releases in 2012. It's not all intense sound structuring though as demonstrated delicately within the sheer beauty of tracks Oscollo and Orion Song, which go a long way to proving how much Elysia Crampton can sculpt truly heart-melting moves while maintaining her exploratory, experimental edge.