Being an electronic musician is hard as fuck now of days. At the beginning, all you had to do was buy that snazzy new gadget, take a fuckton of drugs, and before you knew it you’d have an hour long massive club hit. Piles of ass and tons of grass set at your feet while everyone praised your musical genius. But bubbles don’t last long. Shit pops. Eventually people had to work harder. Genres of electronic music were created. These new genres split into sub genres. And these motherfuckers continued to split, and split again, and then split again. Computers kept popping up fucking everywhere. And the massive club hits of last year were the presets to this year’s new computer. Eventually, Hip Hop came in like an invasive species of musical fucking pelican and scooped up half that shit before flying the fuck away. Electronic music lost itself. So, now of days you’ve got to prove why an album is electronic. Prove why this shit isn’t trip hop, hip hop, electro-acoustics, or electro-whatever-the-fuck. It’s just not as easy anymore.
Pull off the Skee Mask and you’ll come face to face with Bryan Müller. This motherfucker has been dropping fat beats before he could legally shake a booty to it. At 17, he called himself SCNTST. But wanting to be known for something other than his age or “potential” he changed his name to Skee Mask. He wanted to step up and fuck with the pros. Then, in 2016, he dropped the album “Shred”. This not only put him on the map, but at the top of the fucking game. He wasn’t just a contender. He was the fucking champ.
Compro works on many different levels. First off, this shit has a fuckton of space to it. Like a blue whale slowly flapping its tail it appears weightless even though it’s fucking massive. It’s also half nostalgic paying proper respect to many forgotten genres and head spaces of previous electronic days. It jumps from jungle, to drum and bass, to house, and all of them are done with the same signature style and grace. You hear the early days of Aphex Twin, jump to the drum and bass of the late ’90s, and come back to some atmospheric shit of modern day electronic. But even though it jumps in styles it’s all done with this certain grace that not only makes it seem completely seamless, but also modern. To be honest, I don’t quite know how the motherfucker does it. Probably he’d answer that all he did was buy a new gadget, take a fuckton of drugs, dig into his fucking soul, and six-or-so months later he had an album.