THIN FILMS

Eskimo

Thin Films (2004)

review by Bill Binkelman

What can often be missing from electronica and ambient music is a sense of tension, conflict, even harshness. That's why an album like Eskimo from Dan McRae, a.k.a. Thin Films, is like a breath of fresh cold Arctic air. The music on this CD is invigorating and edgy, as McRae expertly infuses his "cinematic electronica" with rough edges and forceful power. This balancing act, pitting lush keyboards and twinkling bell tones against aggressive snare, high-hat, and bass beats, as well as more abstract percussive textures and scratchy "noise" elements, yields a bewitching alchemy that fascinated me from the very first playing. Eskimo constantly kept me slightly off-balance, which for a well-worn and jaded music reviewer, was a refreshing change of pace.

Graced by a great cover and internal artwork (kudos to Neil Shrubb and Julie Blackett), the music on this CD is not what you might expect since the album's obvious inspiration is the cold barren landscape of the far north. But, on the other hand, where else is the environment so unyielding and cruel, even while it is achingly beautiful? So, perhaps McRae has uncovered the "true" musical interpretation of this frozen land?

Another aspect of Eskimo I enjoyed was its relatively short length (forty-six minutes). McRae proves that VERY good things come in small packages, apparently. This is because he appreciates succintness and economy in his music, not allowing any one groove, beat, or texture to go on and on and on until boredom sets in. A first rate quality, that, in my concerted opinion!

Of the eleven tracks, one of my favorites is the frenetically-paced opener, "The Hunt," driven by pulsing bass and high hat beats, some scratching effects, and a forlorn horn-like keyboard for the main melody, along with judicious use of wind-like noises and a smattering of analog synth notes during the bridge. "Huskies" is another gem, setting off delicate bell tones against echoed crashing percussive effects and a electrostatic pulsing noise, with an undercurrent of warm washes and drones, and climaxing in the middle with an assortment of heavy duty beats and rhythms. The track alternately builds in power and then subsides, the shimmering bell tones that percolate over pumping synth beats in the bridge are ultra-delicious. "Polar Bear" is too short (a minute and a half), but still enjoyable; it's one of the few non-rhythmic pieces on the CD, consisting of layers of synths and drones, chillingly beautiful yet eerie as well (another one in that vein is the haunting tone poem, "Inuit in NY," which I also wish was a little longer).

I wasn't as fond of "Sweet Electric" although I didn't mind it. It's more of a glitch track, which is not a bad thing in and of itself, and even here McRae displays his ability to assemble different pieces of his musical puzzle into interesting patterns. His use of an electric guitar sound, though, proved too jarring for my taste, although it is off-set by some of his best bell-tone work, and the glitch beats are pleasingly funky and catchy. "Morning Valley" is wonderful, beginning with echoed piano amidst the sound of thunder and terrific lush strings, then turning into an almost classical piece when McRae combines plucked orchestral strings with bowed ones, and imparting a slow yet deliberate cadence to the music. The album closer, "Lure of Time Alpha Remix," begins softly with strummed guitar yielding to a rush of wind and drones before a funky mixture of both dub and drum and bass beats washes over the song, carried on a current of floating synths and keyboards, before evolving into spacy electronics, jazzy piano, and soaring strings amidst arrhythmic beats - avant garde lounge music for cold polar nights?

While not perfect, Eskimo is one of the more audacious and inventive electronica/rhythmic ambient recordings I've heard in a while. I can't get enough of McRae's blend of warm melodicism, through the use of strings and major key synths, with aggressive rhythms, rapid beats, and adventurous application of more abstract textures and effects. Maybe this is what electronica sounds like above the Arctic Circle as the aurora borealis rains down electronic interference on the frozen regions of ice and rock. The cold northern wastelands are full of beauty and also peril; it's not a land to be taken lightly, obviously. Eskimo mirrors that duality, keeping you always aware of the danger lest you be lulled into a blissful sense of naiveté. The CD is strongly recommended, and be sure to wear headphones because the mix is superb on the album and you'll want to catch all of it.