Sense Project

Artists: Sense Project
P: 2008
The Sublime careens from drone ambient, to churning, confrontational Aphex Twin style rhythms, with perhaps more rich and diverse sound content than any album we've ever released.
Now here’s a sign of trust: Hypnos Records have decided to make the latest installment on their “Secret Sounds” imprint a double disc release – despite the fact that its mastermind Robert Logan is only nineteen years old. Of course, their faith is well-founded: “The Sublime” follows in the footsteps of soundtrack work on an award winning movie, a much publicised debut album under his civilian name and the announcement that he will be providing “ambient textures and drum edits” for the next Grace Jones album. The risc-factor “The Sublime”, therefore, lies less in the fact that we’re dealing with a promising but as yet still relatively unknown producer here, but in the stylistic outreach of the record, which touches the outer limits of what Hypnos have usually been associated with.One of the earlier pieces to surface was the mesmerising Dronescape “Garden”, which features Sarah Sarhandi on viola. “It's nothing like my usual material”, Robert Logan reveiled on an online forum, “and it might not be everybody's cup of tea.” Reactions were mostly extremely positive however and most of “The Sublime”’s first disc follows in a similar trajectory, with the concluding Death and After (with Francis Logan on violin) a cross reference to “The Garden”.It is the second disc, which might cause some disturbance, opening with foggy dark ambient draperies, extending into tribal Steve Roach territory on “Shards” and only coming full-circle with the consoling aftermath of “The Beautiful”. The “confrontational Aphex Twin style rhythms” are nowhere to be found on the MP3 extracts provided by the label, but even though these pieces are clearly aligned by a common atmospheric denominator, the variety Logan is able to award to his material is impressive.