FaltyDL got his start around 2007 mining the subtler sides of dubstep and all-inclusive “bass music,” and has remained one of the more interesting practitioners of the forms since. Based in New York, his sound travels freely to far-off scenes and spaces, from grotty record shops in London to warehouse techno clubs in Berlin to cast-off corners in Tokyo where aficionados of esoteric grooves mix. On In the Wild, his fourth full-length, he sets up outposts in each and travels well beyond.
“New Haven” starts with a series of corkscrewing sounds that take time to assemble: a vocal-sample stutter, the seemingly stray click and clack of some drums, a set of keyboard tones with the tactile sense of actual keys actually being pressed. With everything present, the sounds start to circle around and spy one another from the sides — to glance and refract off different edges. It sounds a bit like the U.K. bass-music master Shackleton for all the uncanny control and command it evinces.
Far less successful is “Do Me,” which hammers a repetitive vocal loop (“do me, do me, do me…”) in intriguing but wholly unrewarding ways. But then comes some mysterious sustained rattle shaking in “Nine,” a nice spell of quasi-conga lounge lines in “Frontin,” some supremely assured sense of grooving in “Some Jazz Shit”¬ — all unusual and striking moves for a producer with a particular sound well within his grasp. Not all of In the Wild works, but the parts that do make a fine show of individuality and idiosyncrasy.