SEBTRONICS : AN INITIATION TO THE ELECTRONIC MUSIC OF S?BASTIEN GRAMOND

As a relatively new listener to the work of mult-instrumentalist and avid composer Sébastien Gramond, I sought to get a crash course in some of the man's more experimental work with this sampler of his electronic output. An artist whose vision seems to transcend any one particular genre, I have heard Gramond do everything from psychedelic rock to jazz and even hip-hop, and while Sébastien Gramond's 'virtual' material does reveal his great talent as a composer, the execution of the music generally leaves something to be desired.

An homage for King Crimson mastermind Robert Fripp's term 'Fripptronics', Sébastien Gramond gives a wholly inconsistent, but very interesting cross-section of the electronic work he has done with 'Sebtronics'. In this, a listener would be introduced to his purely electronic work, neoclassical compositions and even some hip-hop grooves. Each of these are at different stages of development and will cater to different audiences, although the real highlight here is to hear Gramond's work with orchestral composition.

Although all of the classical compositions are synthesized through a computer and no real orchestra is employed (as will be obvious to anyone that listens), Gramond's prowess as a classical composer really shines through, if anything. With the 'Virtual Symphony #3' being represented on this compilation, the listener gets a taste at a very promising composition. Unfortunately however, the virtual execution of the symphony really robs the music of its potential, although parts of the orchestra can sound surprisingly effective.

Chief among the weaknesses heard here is that of the hip-hop Sébastien Gramond has sought to create. While I am a casual fan of some old school hip-hop and open to any umbrella of music, it's unfortunate that the hip-hop here just doesn't work. With 'Let The Rhythm Take Control', the track revolves around one or two vocal lines that repeat the song's title again and again to the point of fatigue, giving a very poor first impression for Gramond's urban music. Extending the failed experiment is the fourteen minute long 'Who's Gonna Get Down, Man?', which offers a loose electronic jam that uses samples from the aforementioned hip-hop track to little success.

While the music featured on 'Sebtronics' is very hit-or-miss, this sampler is worth checking out, for the great classical compositions and some other electronica that is easily reminiscent of Walter Carlos' soundtrack for the Kubrick film 'A Clockwork Orange'. Recommended to listeners of experimental electronic music.

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