Techno was a decisive element on spatial’s first singles. The sound was cold and clinical, very premeditated, as if an Ostgut Ton record had filtered in with the final mix. In that sense, spatial’s productions found an interesting and very fashionable niche last year, a kind of dubstep where Berlin and London –like Scuba or Sigha– met, but with a cerebral touch that kept it from going straight to the dancefloor. That’s why the fourth release through infrasonics on 10” changes so much with regards to spatial’s style: the man himself says he stopped thinking so much about the sound and just trusted his instincts. While before there was a lot of speculation, study and endless re-touches, reaching an almost obsessive level of purity, now there is a clear flow that is audible in the rhythm.
For starters, the techno texture has disappeared in favour of funky breaks that have more approximation to future garage than to dubstep-techno, and that’s thanks to a more unpredictable way of organising the rhythms, without so much meditation or censure. They simply come out and find their place in the atmospheric structure, organising themselves into the pattern of each situation: sometimes more house, sometimes breaking like electro, or allowing for cropped voices to enter in micro-second sections in the way Todd Edward would ( “100505”). For spatial, this single is a decisive step forward in his career: he hasn’t betrayed any of his principles (space, texture, mental rather than physical post-dubstep), he keeps on the experimental path, and yet his music has gained flexibility and possibility. What will come from now will only be better.