Out Out Out’s
Reviewed by Eric Atienza
Shout Out Out Out
Out’s 2nd album, Reintegration Time,
kicks off with “Run”, a slick synth
groove over a light high-hat. A steady beat is amplified
as the drums fully kick in and a smooth easy electronic
tune turns into a danceable IDM number M83 would
be proud of. The album continues with a deceptively
simple intro for “Guilt Trips Sink Ships”
in which a simple beat is presented and then slowly
augmented with snaps, synths and various other effects.
By the time the vocoder-masked vocals are joined
by layers of keys party mode has been established
in earnest. The song, like most on the record, sports
a bit of a breakdown ¾ of the way through
before kicking back into full-on dance mode.
Cadence Weapon lends his vocal to “Coming
Home” slightly shifting the mood from dance-focused
electronics to a head bobbing splitting of attention
between music and lyrics. It seems like an odd track
to find on this record – as generally the
other tracks are not lyrically driven – but
ultimately it is a fun track and succeeds despite
an oddly displaced feeling. “How Do I Maintain”
parts I and II shift back into a more digital sensibility
with an underlying sci-fi movie/video game aesthetic.
“One Plus Two Plus Three” (with San
Serac as vocal guest) comes armed with an 80s bent
evoking more than a little Chromeo and a whole lot
of get-dirty-and-get-down, a theme repeated later
in the album with “In the End It’s Your
Like most of the songs on the record, the most dynamic
track, “Bad Choices”, takes time to
establish a musical base while continuously building
on it to make a towering whole. It’s one of
the few tracks on the album with a prominent vocal
track and yet the lyrics are simply two lines that
keep repeating. The way in which the band utilizes
the same musical and lyrical phrases to such varying
effect to build such a grand-sounding song while
maintaining a steady dance beat makes it one of
the funnest songs one an incredibly fun album.
Reintegration Time utilizes bits from many
forms of electronica. It has a bit of the repetitive
nature (or a lot in the case of the title track)
that makes trance so easy to get lost in and yet
a steady ebb and flow that makes IDM so catchy.
Even the heavy hooks and dominant snare and high
hat of “Remind Me in Dark Times” evoke
some of the most successful elements of electroclash
though without as much harsh dissonance.
Reintegration Time is not Oracular
Spectacular or Sound of Silver. It
doesn’t tell a story or pull at the heart.
The soul of the music is purely rooted in the party
down. It’s care-free and caution-to-the-wind
dance music, and thank God for that.
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