Milyoo is a slippery producer. Not because he slips like an eel through the hands of those who want to find out more about him –there is some transparency: his name is Tommy Wilson, he lives in Kentucky and he released his first 12” last year on Opit, the excellent “Dasein”–, but because his sound is hard to pin down. There are flashes of dubstep and other bass music, psychedelica with tribal effects and wide layers of ambient that induce melancholy; they give out more serotonin than energy for dancing in clubs. However, like early Gold Panda, Milyoo sits comfortably between several fields and none of them dominates. On “Kazaduon”, the first cut on the single, it seems like the base is dubstep, but then it turns into an insistent house beat, while a female vocal floats over it. “Takedown”, by turn, begins like a personal variant of bass music and turns into ambient with breaks in the vein of the American producers of the nineties, like Hawke or Rabbit In The Moon –the link with the old “coastal breaks” scene–, and when we get to “Box Of Tapes”, Milyoo gets down in a slow and psychedelic acid jam, where you get the feeling of being in a parallel universe, with curved, orange landscapes. On “Phonix”, the last track, the bass becomes stronger, yet it’s still dominated by a set of airy synths. So what is this music, and who is Milyoo? To say he’s the American answer to Gold Panda or an involuntary successor of the old Hardkiss label might be risky or superficial, but there is some truth in it. What we can say with certainty is that he’s one of the most unpredictable producers around right now and one of the hopes of the North American electronic underground, which is quite something.