NanoSweep 14
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Album Title: NanoSweep 14 |
| Record Label: Nanosounds |
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| Catalog No.: N/A |
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| Release Date: August 13, 2012 |
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| Purchase: Buy at Sweep Record |
Overview
NanoSweep is an ongoing series of original music that was initiated in 2004 by various members of NanoSounds and SuperSweep. It usually features members from each of these companies and occasionally a guest composer. This is the fourteenth original album and features compositions by Hiroshi Okubo, Ryo Watanabe, Shinji Hosoe, Ayako Saso, and Takahiro Eguchi.
Body
Hiroshi Okubo opens up the album with “blue.” While his recent Nanosweep contributions have focused on elements of dubstep, this tune features an older side of Okubo. I really like this tune as it would work well in any chill lounge or even on a dance floor. It’s a mellow electronic tune with some jazz influence and some vocal samples every once in a while. Despite being the least energetic tune on the album, it carries a massive amount of atmosphere.
Ryo Watanabe’s “Luz” features the same style that many of Watanabe’s more modern Nanosweep tunes have taken. It features a modern sound, although it is offset by some elements that recall days from previous decades. While it is enjoyable, it is one of Watanabe’s more generic attempts, so it may not be suitable for repeat listens, as it is a bit repetitive, unless of course, you like this style.
“Deep freeze gun,” by Shinji Hosoe, continues his experimentation with wobbled bass lines. Overall, it’s quite a catchy tune, featuring a fantastic beat, some nice ethereal synthesizer tones, and what appears to be breathing sound effects. The vocal samples are a bit on the cheesier side, but the overall energy of the track more than makes up for it.
Ayako Saso’s “A Midsummer Night’s Dream” is definitely my favorite contribution to this Nanosweep album. It combines Saso’s love of rave music, some ethnic touches, and 90’s dance tunes all into one. From the catchy vocal work that sounds straight out of the 90s, to the Middle Eastern touches that open the tune, as well as make an appearance later on, and the intense ravebeat, it’s a joy from start to finish. However, what I think is most enjoyable about this entire piece of music is the instrumental melody introduced towards the end. This synthesizer laden melody would fit perfectly in a Megaman game as it has this very retro vibe.
Lastly, Takahiro Eguchi shows that he is able to handle any electronic style thrown at him. “welcome (flex)” focuses an intense beat and gabber style vocals that conjure up imagines of Ayako Saso’s and Shinji Hosoe’s forays into this genre. However, what I find quite interesting about this tune is how he breaks up the intensity with some catchy synthesizer tones in the melody line, giving the listener something to attach to, while also providing some beautiful ethereal accompaniment that gives the tune a bit of texture.
Summary
While Nanosweep 14 may be a bit more diverse and less cohesive in overall sound compare to some of the more recent releases, it definitely offers some more contemporary styles mixed with some more established electronic styles of music. Most of the artists manage to create an impressive tune and from start to finish, the album is quite solid. For fans of the Nanosweep series, I definitely recommend this one.
Do you agree with the review and score? Let us know in the comments below!
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Posted on August 1, 2012 by Don Kotowski. Last modified on January 17, 2016.
About the Author
Don Kotowski Currently residing in Philadelphia. I spend my days working in vaccine characterization and dedicate some of my spare time in the evening to the vast world of video game music, both reviewing soundtracks as well as maintaining relationships with composers overseas in Europe and in Japan.
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