With the release of his Ammunition Pt. 2 EP on Skrillex‘s OWSLA records, Alex Metric has positioned himself at the head of the pack of the UK new wave. Not yet a household name in the states (although he should be after his remix of the Beastie Boy’s “Sabotage”), Alex continues to impress us with an unbelievable creativity. He effortlessly creates intricate electro prog landscapes out of robotic clicks, pops and pings, developing some of the most interesting productions in dance music today. Like some sonic Doctor Frankenstein, Mr. Metric melds the sounds and styles of countless genres into a sound all his own, stapling and sewing them together into a precise and purposeful groove-driven monster. Ammunition Pt. 2 is a showcase of Alex’s finesse in the studio, a neat package of 3 funk-fueled originals as well as remixes from Aeroplane, Mark Starr and UZ.
The opening track “Prophecies” starts off slow and methodically paced, driven by acoustic snares and cymbals, all encased in a cocoon of electronic squeaks and shrills. As the track ping-pongs between pitches with an unforgettable energy, percussive punches develop into a funk friendly breakdown, the type of steady breakneck rhythm that grabs you and refuses to let go.
“Motion Study” finds Metric collaborating with the nu-disco producer, OLIVER, resulting in the creation of a powerfully diverse soundscape. The word epic is often overused when writing about dance music, but it’s fitting here. The type of track best suited for the soundtrack to a steam-punk film of a dystopian future, “Motion Study” has hints of the massive orchestral scores most often attributed to Daft Punk or Justice, yet still maintains the recognizable Metric aesthetic.
Previously released earlier this year and Metric’s best production to date, “Rave Weapon,” receives the remix treatment from Aeroplane, Mark Starr and UZ, each artist lending their unique styles to the original track. Aeroplane’s Droid remix brings the tempo down, glossing the underbelly of the original with sultry synthesizers and a deep house bass line. Mark Starr’s take transforms the track with high-pitched pops and persistent hi-hats into something undefinable while UZ trap-ifies “Rave Weapon” with impressive results, stuttering and dismantling the original’s vocals and melodies into a chopped and screwed trap masterpiece.