EPROM – “Halflife”

Image via Rwina Records
Image via Rwina Records

EPROM‘s debut Metahuman was nothing short of a revelation. The 2012 Rwina Records-released album contained 13 mind-bending jams like the cleverly titled “Regis Chillbin” that illuminated the Portland-based producer’s obsessively futuristic beat music. According to Dirtybird head honcho Claude VonStroke, his follow up is as well: “Halflife takes beats, puts them a time machine and lands them in a field of purple mushrooms on the surface of Jupiter; 10/10.” At just under an hour in length, EPROM’s follow-up Halflife is as well as it’s some of most technically brilliant and forward-thinking music being released today.

A true “recording artist,” EPROM makes rhythmic poetry out of grinding gears (“Center Of The Sun”) , bird calls (“Vogel”), acid squelches, and squeals, all with a retro purple brush seemingly right out of Bristol. Standout tracks include “Moisture,” “Beasts Of Babylon,” “Rave Alarm,” “Subroc,” “Turtle Ride,” and more. There isn’t a bad “track” on this album, and it’s the sort you definitely won’t get on first listen-through. The album’s electronic extravagance is perhaps too much for some, but EPROM’s music has never been for the masses. His artistic integrity and resounding strength in his vision has earned him praise and releases on labels like Warp, Bad Acid Music, Additech, and of course, Rwina Records.

Halflife‘s surreal synths, inventive sampling, sublime sound design, and grinding percussion articulates EPROM’s mind-blowing ability to essentially recreate his own digital reality through music. It’s abstract to say the least, but if you’re listening to EPROM, you’ve probably long left your days over on the mainstage and turned off that radio dial. Beyond that and perhaps more obviously, EPROM’s Halflife is not intended as pop music, which for all intents is purposes is to make the most number of people feel good about themselves in some way. What it is though, is important and thought-provoking. In that sense EPROM’s music might be perhaps beyond most people’s everyday comprehension and that’s understandable. Like my father once described olives as “an acquired taste,” EPROM’s music is unique and for many, only enjoyable after they’ve come around to it. To some it’ll be disquieting and that it’s not the sort of thing you hear everyday. It’s tickling and frightening all at the same time. It’s intense and it’ll force you to ask questions about your conception of music – a question that doesn’t get asked enough.

EPROM’s Halflife is now available via RWINA Records