Originally out as a cd only Machining Dreams release from 2013 and now making its way to vinyl is 505_explorations. After acquiring the cd, Third Ear Recordings decided that it needed to be released sometime in the future, well the future is now and here it is; straight from the mind of hm505. Below are the prose from the one sheet:
hm505 is the alias of Chicago producer, Hakim Murphy. 505 Explorations sounds deceptively simple and raw. This is a raw Chicago House record, but one sounding like it has been bleeped from the future to us. Like the early Detroit Techno records, this music leaves you wondering where it’s from, who made it, when they made it…and Where Can I Get It?!
The name hm505 comes from the university system in the USA. 505 signifies a Masters degree course, and hm505 is me bringing together the culmination of all my techniques. I have a Bachelors degree in music composition, but getting suited up as hm505 feels like I’m further ahead than that. I record a specific way as hm505, I create some sounds, a groove and some drums. The synth sounds come from everywhere, like an iPad or a DAW, or a synth, but I import all those sounds into an MPC and then I add a drum machine and record all of it live with a Kaoss pad for augmentation. Essentially the Kaoss pad adds an extra dimension to the music that is critical to the hm505 sound.
a1_memory gland///Reverb on the kick slightly accents the tone in the introduction that leads a listener into two synth lines. The bass is strong, meanwhile the chords rain down and morph through the speakers.
a2_camera angle///Sparse percussion begins as a synth line picks up the groove. Then chords sound as pads to further thicken the tune. Simultaneously many filters and delays sound to add to the flavor.
a3_excur///The slowest tune begins with a fine synth line that soothes the brain waves. Liquid feels coming to the surface as foreplay between synths. Drums move around as the synths continue their flirtation.
b1_undercurrent///A synthline hits on most of the 16th notes with varying accents that rides for quite awhile. Later a melody line rings in over the top. The percussion begins to build up due to hi hat motion giving the illusion of a faster tempo. But like a real undercurrent, the sonics never stop.
b2_lawndale///Drum pattern beats start as a one chord note begins the sonic aggression, which is swiftly followed by bass, strings, and synth sounds. Chords come to light when the hi hats pick up the pace. Constant movement of the deep house tune continues until conclusion.
c1_late night deep///Conceived late at night, a few sprinkles of over-driven percussion begin as a chord progressions takes the lead, which is quickly followed by a bass line. As the tune moves forward effects swoosh around, eventually a Japanese phrase about late night partying appears as all the instruments continue there movement.
c2_hilt’d///The machines are talking as noise is presented for this acid jam. Two acid lines play with each other through call and response, meanwhile the entire tune is swishing around from time to time through effects. Acid for the heads.
d1_agressive moe///The pace picks up a little with a more pronounced kick, only the percussion rides for a bit, and two syncopated synth lines show up shortly after each other in succession. A fun filled ride of drum machine sounds, effects, and a conversation between two since lines make up the rest of the piece.
d2_p inhaler///To end the affair, melody notes begin as a low tom bangs out below the percussion. A nice syncopated line appears to establish the rhythm. Then a chord progression comes to augment the tune. Moving and moving, the piece continues to offer many possibilities of sonic goodness.
Distributed by Clone
Reviewed by Timeline-Music