We got an exclusive listen to Audistory Chapter Four, set to be released on the 10th of this month with tracks by Mohey, Chiati, Wahba, Gaser, Some Say, Format 808, and Ray Ash.
The fourth chapter of Besworx’s various artist serial label compilation - Audistory - sees seven artists come together with one track each, delivering an amalgam of different sounds. Planned for release on the 10th of this month, the album has garnered early support by huge artists including Nick Warren, Tone Depth, Stereo Underground, Oliver Schories, Jody Westernoff, Paco Osuna, amongst many.
Chiati’s Relax is first in line, an exceptional opening track banking on some very well programmed synth work, a broken up drum line, and an open soundscape design where a pad ushers in a rolling bass line that takes the drop to a completely different soundscape than the track's first half. The album is not very consistent in that it does not abide by a certain style, as the second track sticks to a strict four to the floor grid from the start - as opposed to Chiati's open breakbeat approach. Graniola by Wahba is haunted by an eerie vocal sample, with a lot of work being done to establish a certain underground vibe that is presented through a repetitive bass line and evolving pads that bring in the break and the subsequent drop.Hydra starts off with a dark, dystopian vibe. Some Say’s track relies on a repetitive three-note melody, hitting on some very crafty percussion work, with glitch sounds and a rumbling bass line, and a sub bass accumulating near the break before the track drops with a heavy kick. Mohey is Due East on this chapter of Audistory. His contribution progresses quickly – vocal sample on repeat – with sporadic synth and bass play. It keeps its four to the floor plan and utilises pads, white noise, and a fantastic string lead that is subtly brought in and out of the track prior to the break - the drop knocks on incessantly.
Three tracks remain in this release, Format 808's There’s No Going Back, Gaser’s Focus, and Ray Ash’s Animal Instinct. The grooviest of the lot, There’s No Going Back takes on a different mood, utilising a similar sound scape as some of the other tracks but with a distinctively different style. A soft synth lingers with a back up on relay, white noise laminates the track's fill points on the break and drop. A vocal sample influences the mood; very subtle on the drop, the track fulfils its role in bridging through to the album's hind quarters. Gaser’s Focus plays on some arcade space sounds, with a very desolate sound structure – a soft pad dominates the break, leading to a subtle drop with a variation on the bass line.
Ray Ash takes the album home with Animal Instinct, an emotional synth composition accompanied by a repetitive bass line and percussions. A divide boasting a space pad and a one-shot sample lay the foundations for the peak of this final track, brining us closer to the end. Overall a massive release, coherent sound design throughout the album - minus Chiat's opening track - yet a diversity in styles is apparent throughout. Every producer delivers a message, turning the album into a journey, an Audistory.