Dear God is the debut EP from Seoul-born, Boston-based producer mmph (aka 24 year-old Sae Heum Han). Classically trained since childhood, Sae Han first came to Boston to study Cello performance at Berklee College of Music before turning his concentration towards Electronic Production & Design and starting his project as MMPH. Dear God marks a turning point in the rapid evolution of this young producer, a merging of his classical training, sophisticated composition, and unique sound design. Han's ability to conjure a seemingly contradictory series of influences into bespoken universes places him alongside sonic puzzle makers like Oneohtrix Point Never, Nicolas Jaar, Arca and Caribou. The 5-song EP is guided musically by introspection and personal experience, a multi-faceted landscape filled with tragedy and dread. Opening with "Sun God" and into "Facade," mmph paints a purgatory-esque desert wherein an insurmountable pressure creates an infinite feeling of desolation. The EP shifts with the wind chimes and ASMR vocal samplings on "Past Lives" into a blissed pool of remnant memories, drowning the listeners in nostalgia, eventually freeing them from the seemingly endlessness experienced at Dear God’s opening. "Dear God was written in times filled with doubt and personal hardship. Experiencing personal tragedies and uncontrollable nature of our lives, writing the EP was the only way I knew how to cope and deal with these events. Simultaneously, attending school for music, you are constantly surrounded by criticism and anxiety. The love you have for the art is often overshadowed by the expectation of excellence and virtuosity. My personal love affair with music became one of my last priorities. Writing this EP not only let me vent, but it also helped me fall in love with music all over again. Ironically, it was the last thing I sought but ended up becoming the medicine that I desperately needed."
The key influences for Hanz' upcoming EPs lie outside music - "They are heavily influenced by film. Things like pacing, tension, comic relief, and climactic moments." "Plasty II," following last year's Plasty I, is the second of two recordings that form a kind of mirror shot of each other - you could say one is a frontal shot, while the other a back shot. Both EPs developed in sessions that started right before the re-issue of "Reducer" (on Tri Angle) in 2015."I was watching a lot of films and realized the ones I appreciated the most were shorter in length - films like "Tetsuo, The Iron Man". Over a year or so of working, I decided to trim compositions down and get to the point in underneath twenty minutes per EP. I named this work "Plasty" due to its constant structural changes, it’s as if the sound is being operated on surgically.”He adds - “I like tension and action. I edit my music like a movie, placing pieces of a song inside of other songs. Certain parts / melodies from part one reappear in part two and vice versa. That’s my way of making these EPs compliment each other by making them function like puzzles. The temporary moments on both EPs are for you to get better acquainted with this sonic environment. For example, the track "A Breathing House" is a short vignette on "Plasty I" that is based on the imagery of a house with breathing windows, doors, and floors." Cinematic influences are joined by inspirations from "the Surrealists" and the "cut-up" technique" (of William Burroughs & Brion Gysin). "Plasty" is the sound of an artist evolving and emerging through exploration, it's the sound of an artist breaking free.
The key influences for Hanz’ upcoming EPs lie outside music - "They are heavily influenced by film. Things like pacing, tension, comic relief, and climactic moments." "Plasty I," his long-overdue new EP, is the first of two recordings that form a kind of mirror shot of each other - you could say one is a frontal shot, while the other a back shot. Both EPs developed in sessions that started right before the re-issue of "Reducer" (on Tri Angle) in 2015. "I was watching a lot of films and realized the ones I appreciated the most were shorter in length - films like "Tetsuo, The Iron Man". Over a year or so of working, I decided to trim compositions down and get to the point in underneath twenty minutes per EP. I named this work "Plasty" due to its constant structural changes, it’s as if the sound is being operated on surgically."He adds - "I like tension and action. I edit my music like a movie, placing pieces of a song inside of other songs. Certain parts / melodies from part one reappear in part two and vice versa. That’s my way of making these EPs compliment each other by making them function like puzzles. The temporary moments on both EPs are for you to get better acquainted with this sonic environment. For example, the track "A Breathing House" is a short vignette on "Plasty I" that is based on the imagery of a house with breathing windows, doors, and floors." Cinematic influences are joined by inspirations from "the Surrealists" and the "cut-up" technique" (of William Burroughs & Brion Gysin). "Plasty" is the sound of an artist evolving and emerging through exploration, it’s the sound of an artist breaking free."
Conceived in a constant state of limbo, the self titled, 'Compton White' EP tells the story of a childhood lived between many homes. It's creator, 21 year old UK based producer and multi instrumentalist, Lloyd Whittle, is part of a generation of Romany showmen - 'Sand Scratchers' - who settled on the coasts of Great Britain 100 years or so ago. Growing up, the seasonal nature of his family's business put him in a state of constant migration between the Isle of Wight, 'the island' and London 'the mainland'. The EP was written in an attempt to capture this duality. It therefore makes sense that the EP traverses a number of styles and genres; boom bap beats dripping in nostalgia, and jagged grime textures hit hard alongside hazy, warm ambiance and distinctly British, pastoral, almost prog like elements, with the occasional pirate radio static cutting through proceedings. What holds these disparate elements together is the confidence with which Compton throws everything together, which is made all the more impressive when we keep in mind this is his debut release. Aside from the record being a sonically inventive head-rush of a listen, it exudes emotion and feels like an incredibly personal statement. As some have begun to note, 'Compton White' signals the emergence of an artist who is surely one to watch.
blisters is the critically acclaimed debut EP by serpentwithfeet, and his first release on Tri Angle Records. Given that he credits both Brandy and Bjork as inspirations, it's not surprising that serpentwithfeet treads a fine line between emotive gospel and more left-of-centre stylings. With his own gloriously outrÃ© personal style and penchant for the dramatic, it also makes sense that the music Wise makes would be so remarkably unclassifiable. "It feels very free because I also feel very free," he says. Making music has always been about making a space for myself in the world. My theory has always been that if you walk into a room and say, 'This is my room'—it’s your room. The End."Tracks like 'penance' and 'redemption' vacillate between hushed intimacy and huge emotional swells. On the EP's title track, Wise's multi-tracked voice plays against gently-plucked harp and syncopated handclaps, the record’s gospel affectations and slinky R&B tropes fusing into something unique, exotic, and strangely beautiful. Meanwhile, surrounded by strings, subtle electronics and Wise's restrained piano playing the EP's first single, 'flickering,' is the perfect showcase for Wise's powerhouse voice. "I'm starting to feel the cord connecting us two is made of gossamer," he sings. "I'm starting to feel there's no cord between us two / are we made of gossamer?" The track unspools with a kind of hushed intimacy, the tone and tenor of Wise's voice rising and falling like a breath until the song itself crests and flutters before disappearing completely.
Katie Gately's introduction to music making was born out of a fascination with sounds, which led to a preoccupation with making field recordings of her surroundings and saving them. "With no plan or direction and no understanding of what I was doing, I was like, 'Well, I like doing this so I'm just going to record lots of sounds. I'm just going to put them on hard drives and save them,'" she recalls. While studying at USC and working as a sound editor for films, Gately went from engineering and editing sound for films to making her own rudimentary electronic. "I realized that I wanted to do more than just correlate sounds to pictures. I'd like to take the sounds and make them the movie stars of the soundscapes. Those experiments became my songs."
On her debut LP, Color, the LA based, singer songwriter-producer, has built seven maximalist electronic compositions based on the idea that more is more. Meticulously composed from layers of found sounds and manipulations of her own voice, Color pulses, lurches, and throbs with the excitement of a million barely-controlled ideas and the energy of a sped up cartoon. The cacophony of sounds could easily slide into chaos were it not for Gately's uncanny knack for melody. Even at their wildest, songs like "Tuck", "Sire", and "Frisk" all boast some sort of accessible emotional core - be it an earworm melody or the kind of winding, circular beat that becomes almost impossible not to hum or sing or feel.
Adult Jazz first appeared back in 2013, amid a flurry of praise surrounding their joyous and addictive debut single 'Springful'. Their unanimously acclaimed debut album Gist Is followed in 2014, self-released on their label Spare Thought, with The Sunday Times calling it "utterly riveting" and the NME and The Line Of Best Fit both naming it their album of the week. Gist Is was a startling and mesmerising voyage from start to finish, taking a labyrinthian, fragmented pop-not-pop path, incorporating songs within songs, while maintaining a sense humour through some of its complex themes surrounding religion, gender and humanity.
Following the release of Gist Is, the band went on to play sell out tours around Europe as well as festivals including Latitude, End of The Road, CMJ and Iceland Airways. The latter was attended by none other than Bjork, who was moved to write about Adult Jazz as ones to watch for Art In America Magazine. David Byrne followed suit and asked them to play at last year's Meltdown festival with Young Marble Giants, while further endorsements came from diverse remixes by Oliver Coates, Happa and a very rare re-work from Shabazz Palaces. Since then the band have been busy collaborating, including producing OKAY KAYA's recent single 'Durer' / 'Keep On Pushin'.
Adult Jazz return with a new record 'Earrings Off!' released on May 6 2016 via TriAngle. Comprised of seven tracks, it experiments with sound and song structure as well as its themes and narrative. Harry explains: "The record is about masculinity. Embodiment, lust, idealisation, privilege, legitimacy and limitation. It's about acknowledging the weight, with a view to liberation from its past clout. It's about picking your ideal body, and playing with body language to achieve authenticity. It's about the possibility of authenticity."
Tri Angle is very excited to announce the release of DAZE, the new album by London based producer Brood Ma. Marking this as his debut on Tri Angle, DAZE is actually the third in a series of wildly ambitious and confounding albums Brood Ma has put his name to in the last few years, generating a good deal of intrigue and acclaim along the way. His first release ‘FISSION’ turned heads with it’s juddering, noisy take on EBM, while the follow up, ‘Populous’ (reissued in 2014 by pioneering dusbtep label Hemlock), signaled for many the arrival of a genuinely unique and intriguing talent, bolstered also by his affiliations with the endlessly fascinating and undeniably forward thinking Quantum Natives collective.
Which brings us to DAZE. By stripping back on some of the beat-suffocating-distortion that defined some of his earlier work and by zeroing in on some of the more disorientating side effects of immersing oneself in trance and hardcore styles, Brood Ma has made his most radically club-orientated release to date. DAZE is a direct by-product of Brood Ma’s ongoing interest in dissecting how (and why) we build virtual worlds and an obsession with the high-definition sound design techniques most often used in trailers for Hollywood blockbusters and video games. These are the sounds of death and destruction, stripped of their grisly truths and molded into plastic or mechanical shapes. DAZE is a dizzying and exhilarating soundtrack to dystopia and a violent virtual world that is becoming increasingly harder to separate from our own realities.
Tri Angle is excited to announce the release of Reducer, the debut album from Hanz, a.k.a 25-year old producer and multi instrumentalist Brandon Juhans, on vinyl for the first time.
With a penchant for the cinematic, the Georgia-born, Durham, North Carolina-based producer cuts blasted, abstract beats on post-punk textures, resulting in a sound that somehow manages to echo RZA, Rammellzee, This Heat and PIL, whilst carving out a unique identity all of his own. At a time when most hip hop production sounds as if it's stuck in preset mode, Reducer feels like a vital injection of creativity, harking back to a time in the past when no sample and no sound was off limits.
Opening track, 'The History of...', a dizzying collage of broken drum machine beats, white noise shards and glitchy dub, is a good place to start in trying to epitomize the energy of the record. From there on Hanz continues to take the listener on a trip into a dark, complex headspace where haunted patois vocals, industrial drums,harps, elastic bass-lines and dystopian hip hop beats collide. It's his capability of collapsing one sound world into another almost seamlessly, whilst retaining a distinctly raw punk energy throughout that sets Hanz aside. It makes for an unpredictable and thrilling listen.
In Reducer Hanz has created something wildly ambitious which, doesn't sound like much else out there in 2015. The 'Reducer' LP will be produced in limited quantities.
As one half of the pioneering duo Vex'd (alongside Jamie Teasdale, aka, Kuedo), Roly Porter was intrinsic in the development of what would come to be known as dubstep. When Vex'd decided to go their separate ways in the mid 00s Roly pursued a solo career in an attempt to escape the genre constraints he felt had become a restriction. With two solo albums behind him (Aftertime and Life Cycle of a Massive Star), his output has primarily been fueled by a desire to write beat-less music, something Roly is keen to specify he doesn't view as being the same as ambient music.
Roly's music isn't about 'day to day' life. Instead it's an opportunity for him to think about ‘'arger' things outside his personal experience, which in turn has had profound impact on how Roly is able to see his own life and that of others around him. Third Law is about combining everything Roly has loved and missed about producing soundâsystem music, with the more compositional ideas he began to explore on his solo work. While Third Law is related to his past, for Roly this album represents finally coming to terms with his goal of leaving dance music as it is, free to explore ideas of rhythm, bass, sound design within his own world without having to shape any of these elements to fit any preconceived ideas or rules.
For the past few years Rabit (aka Houston, Texas based producer Eric Burton) has steadily worked his way up through the underground, via a series of acclaimed 12" and EP releases, each one signaling a shift into increasingly bolder and more challenging territories. He's been at the center of some of the most exciting, emerging electronic 'scenes', sharing ties with both the Berlin based, dance deconstructionists of Janus (Lotic, M.E.S.H.) and with UK based grime experimentalists like Mumdance and Logos. With the release of his debut album, 'Communion', the follow up to his acclaimed EP (and Tri Angle debut) 'Baptizm', Rabit shows no signs of letting up. As a sound designer Rabit has continued to push himself into new and compelling territories, reshaping various 'club' sounds into something alien and unpredictable, but with the release of this album he's heavily politicized his music in a way he'd only hinted at before.
Over the past 2 years Rabit has developed a formidable reputation within the underground via a steady stream of acclaimed 12" releases and mixtapes. With strong ties to similarly buzzed about producers Mumdance and Logos, having worked with both on a number of releases, culminating most notably in a guest spot on the latters debut LP, 'Cold Mission', one of 2013's most acclaimed electronic albums, as well as affiliations with the severely hyped Janus crew (M.E.S.H. designed the artwork for 'Baptizm') and a genuine hit on the British grime scene with his Riko featuring 'Black Dragons', Rabit feels poised to breakthrough in 2015 which is why Tri Angle is very excited to announce his debut on the label. 'Baptizm' is a record of 2 halves, the ornate, gothic waltz of Imp and Hex grinding against the pounding mechanical violence displayed on Bloody Eye and Straps. On an emotional level Baptizm is about having one's life thrown completely out of order and finding solace in an imagined world. Themes of destruction and regeneration dominate throughout as well as an ongoing obsession on the often-ugly clash between sexuality and religion. All in all 'Baptizm' finds Rabit continuing to feel out the parameters of his increasingly alien sonic world in a typically exciting fashion.
In 2014, 'Damsel in Distress' a free mixtape album created by 23 year old J'Kerian Morgan, aka Lotic, garnered universal praise from all who heard it. Consisting of all original material and mind-warping edits of smash hits like 'Drunk in Love' by BeyoncÃ©, the mixtape was lauded as an 'important turning point' in regards to where electronic music could go next. Now based in Berlin, but originally from Texas, Lotic has also attracted significant buzz as a member of the Janus crew, a collective of producers and DJs who have gained a reputation for throwing some of the most forward thinking club events in Europe. Having already been profiled in The New York Times and The Fader, as well as by countless other independent music sites, the recurring message is that Lotic is at the center of a new scene of musicians who are pushing boundaries and creating something uncategorizable and truly unique. 'Heterocetera' is Lotic's first official release since the unveiling of 'Damsel in Distress' and marks the producer's debut on Tri Angle. This is the sound of tomorrow, today.
With the release of his debut EP ‘Idle Hours’ Tri Angle is very excited to introduce Boothroyd, aka, 21 year old, Mancunian native Peter Boothroyd. Since moving to London less than a year ago for school and off the back of a handful of mp3s that have slowly circulated amongst musician friends and industry people alike, Boothroyd has been creating quite a stir for himself within the electronic music scene. Despite this being a debut release by a relative newcomer, 'Idle Hours' feels oddly anticipated within certain quarters. There are probably two reasons for this; a growing reputation for being one of the most oddly charismatic producers out there (interviews will undoubtedly be very illuminating) and of course the music itself, which is pretty much impossible to easily explain or classify. Setting out to create something that felt beautifully wide in scope, but also disfigured and jarring, Boothroyd wanted his music to sound cinematic whilst aesthetically mirroring how his own regular music listening experiences, via the saturated, ultra compressed world of Youtube. Purposefully recorded using the most basic of set ups and mixed with (in his words) 'cheap, shitty headphones', 'Idle Hours' feels like the most battered state of the art record you might hope to hear in 2014. It also makes clear Boothroyd is an artist to keep a serious eye on.
‘Punish, Honey’ the follow up to Vessel’s critically acclaimed debut album ‘Order of Noise’ finds the always unpredictable Bristol based producer continuing to challenge himself and listeners alike. Wishing to move away from working with archetypal electronic sounds, with ‘Punish, Honey’ Vessel sought to create something that felt more organic even if the sounds themselves didn’t always feel inherently organic. That lessening interest in electronic sounds was concurrent with a burgeoning interest in natural sounds, in particular, how the physical body has a direct effect on the nature of the sound, whether it be harsh or pure, messy, violent, seductive, or strange. Using sheets of metal as percussion, sawing up bikes to make flutes and creating harmonic guitars all by his own hand, Vessel created his own set of crude instrumentation exclusively for this record. Combined with an interest in notions of national identity, Vessel asking himself the question ‘What does ‘Englishness’ in music really mean?’ ‘Punish, Honey’ is an uncompromising and dizzying experience. Traversing the queasy glam stomp pf ‘Red Sex’, the chugging, cinematic soundscapes of ‘Anima’ and the medieval industrial tones of ‘Euoi’, ‘Punish, Honey’ is the by-product of an artist striving to create his own unique lane.
To many, 'What's Between' will be viewed simply as the debut solo album by Irish singer songwriter James Kelly, aka WIFE, but to fans of the critically acclaimed metal band, Altar of Plagues, this album marks the return of a much admired talent. As front man in Altar of Plagues, James Kelly was lauded as being partly responsible for creating some of the most innovative music to emerge out of the metal scene in recent years. After the release of their third album, which many viewed as a creative high point, they surprised everyone and disbanded soon afterwards. This decision was partially due to Kelly feeling the band had gone as far as they could, but also because of a burning desire he'd developed to make a very different kind of record leading to the creation of WIFE. 'What's Between' is a disorientating and splintered pop record that finds light and dark at constant odds with one another, industrial tones and throbbing techno beats clashing with elegiac pastoral atmospherics. Even on seemingly lighter moments the lyrics often betray their sunnier surroundings. Produced with The Haxan Cloak, who released 'Excavation,' one of last years most acclaimed and extreme electronic albums, lie, and cult hero Roly Porter, 'What's Between' is a highly ambitious solo debut by an artist boldly navigating outside of their comfort zone.
With the release of his 'Preparations' EP on Tri Angle in late 2013, Fis and his inimitable and wholly original sound was introduced to the wider world. Since he’d first emerged with a series of ultra rare 12” releases in 2012 on various drum and bass oriented labels the Wellington, New Zealand based producer had quietly been tipped on the underground as one to watch. The praise heaped upon 'Preparations' definitely seemed to justify the hype that had quietly been building behind the man otherwise known as Oliver Peryman. Pitchfork referred to Fis as an artist who "was in the process of uncovering an altogether new rhythmic grammar" and on 'Iterations', his latest EP on Tri Angle, he continues to do just that. It's still a pretty daunting task trying to explain exactly what Fis sounds like. He's been referred to as a drum and bass producer, but as XLR8R have rightly stated, "even in the context of the drum & bass resurgence there's little question that Fis is exploring some exciting, uncharted territory." The disorientating and confounding rhythms are still present, but in comparison to 'Preparations', 'Iterations' feels more expansive and oceanic, less claustrophobic and ever so slightly more approachable. What these 4 tracks confirm is that Fis is a producer who has something important and special to add to the electronic genre.
It isn't often an artist seems to materialize from nowhere with a sound so disinterested in following any conventional rules that it inspires equal measures bafflement and stunnedness, but in 2012 with the release of the 'Unknown Vectors' EP, Sd Laika did just that. Taking the already alien sounds of grime music as a starting off point and abrasively twisting them into something even more unknowable, Laika had developed a sound that defied any easy categorization. 2 years later Dummy Magazine would come to refer to this record as 'one of the most jaw-droppingly inventive debuts in recent memory and ought to be considered "the other 'Cold Mission'" (in reference to the highly acclaimed Logos LP from 2013)'. After 'Unknown Vectors' Sd Laika became something of a mystery, disappearing from the scene altogether leaving behind him a small, but hardcore cult fanbase convinced they'd glimpsed something very special in those 5 tracks. It was only in 2013 when Tri Angle approached Sd Laika that a new record began to take shape. This record would end up consisting of songs Sd Laika had recorded in 2011 and 2012, songs he'd convinced himself would never see the light of day. For various reasons it looked likely Unknown Vectors would wind up being Laika's one and only ever release, which is why we're so excited (and as huge fans, relieved) to announce the release of his debut album 'That's Harakiri.'
It’s safe to say since his emergence at the tail end of 2011 Evian Christ, aka Joshua Leary, has had a whirlwind two years. Off the back of his breakthrough mixtape 'Kings And Them' which came out on Tri Angle Records in February 2012, the 24 year old, Ellesmere Port, UK native has produced on Kanye West’s Yeezus, collaborated with acclaimed conceptual artist Matthew Barney, released the notably abstract sound-piece Duga-3, performed around the world alongside the likes of Purity Ring, Actress and Four Tet and garnering positive reviews and features in global tastemaker press including Details Magazine, Dazed & Confused, Pitchfork and VIBE amongst many others. His latest EP Waterfall finds Evian Christ exhibiting a creative restlessness that continues to make it harder to pigeonhole this young, evolving artist. On Kings And Them Evian Christ conjured up a sound that was influenced by hip hop as it much as it was by more ambient forms of music. On Waterfall Evian Christ has taken his unique sound into a far noisier and more aggressive territory.
‘Preparations’ is the first record to be released on Tri Angle by Fis. Based in Wellington, New Zealand, Fis has steadily been building a name for himself on the underground as a producer to keep an eye on. Having already put out a number of very limited edition and very well received releases through a handful of drum and bass oriented labels, ‘Preparations’ finds Fis at a point in his music making career where he’s ready to be introduced to a wider audience and confirm why websites like Resident Advisor have had things like this to say about him in the past; ‘A producer that has suddenly appeared, rather fully-formed, doing something completely individual, sounding like absolutely no one else.’ It’s pretty difficult to explain exactly what Fis sounds like. Drawing upon a rich history of New Zealand customs and periods of heavy meditation for inspiration, Fis’s tracks have the ability to completely disorientate and absorb the listener, creating rhythms that constantly seem to be cannibalizing one another. ‘Preparations’ feels forward thinking in the extreme and yet entirely elemental and strangely ancient.
In 2010 Forest Swords, the musical guise of Matt Barnes, introduced his unique and highly evocative sound with the release of his debut EP ‘Dagger Paths’. Developing a word of mouth, cult following, the release was critically lauded upon, landing positions on numerous ‘Best of’ lists that year. Heralded as an artist on the rise with big things ahead of him, Forest Swords took his newfound interest and for very personal reasons did what many artists wouldn’t have done in his position; he practically vanished. Now over 3 years later Tri Angle is ecstatic to announce his return with the release of his debut album; ‘Engravings’.As a lifelong resident of the windswept, bleakly beautiful Wirral Peninsula in the north of England, Forest Swords’ surroundings have always tended to be his biggest inspiration and that love affair continues to flourish on ‘Engravings’, Barnes even opting to mix the entire record on the beaches of this battered coastline on his laptop. The results are heavy and triumphant, euphoric and yet touched by a distinct world-weariness. Engravings is an expansive and truly original fusion of rattling dub rhythms, chiming guitar, blunted hip hop beats, and vocals that sound as if they’re emanating from decades old gospel recordings.
In 2011 with the release of his debut, self titled album, The Haxan Cloak, solo project of multi instrumentalist, Bobby Krlic, appeared seemingly out of nowhere with an impressively fully formed sound that blew away most anyone who heard it. Recorded over the space of 3 years The Haxan Cloak was a wildly ambitious fusion of malevolent strings, junkyard found-sounds and primitive percussion. In the two years since the release of his debut, Krlic relocated to London and began working on it’s epic follow up, and Tri Angle Records debut; Excavation
Bolstered by the concept he was developing for his follow up and a desire to challenge himself into new terrains, Krlic has evolved his sound to incorporate more of his electronic influences. The result is an album awash with serrated beats and cavernous sub-bass, meshing with the classical drones and ghostly details The Haxan Cloak fans will have already been accustomed to. Whereas The Haxan Cloak was a dense, and at times, suffocating listen, Excavation finds Krlic confidently adopting a more minimalist approach, experimenting with space and silence without forsaking any of the intensity that made his debut such a powerful statement of intent.