Album review: Alias - Resurgam

Originally published in Soundcheck Magazine (8/3/08)

It’s hard to make a great electronica album. It’s so easy to slip into contrivance or to fall into self-parody that the genre is in a constant fine-line straddle. Most who attempt the balance, understandably, fall squarely on their asses. Some of the better artists of the genre have a curious brotherhood in hip-hop: Rjd2, Danger Mouse, and El-P, to name three. Maybe there’s something in the marriage of dance’s neon and rap’s malevolence that’s absurdly attractive. Brendon Whitney, a.k.a. Alias, got started in rap before switching almost exclusively to production, releasing two instrumental albums in 2003 and 2004, respectively. With Resurgam, his latest release, he has demonstrated a mastery of aura and detail that puts him near the head of the production pack.

The two best electronica albums of last year were Justice’s Cross and Burial’s Untrue. The two albums couldn’t have been any more different—Cross dove headfirst into a sea of fluorescents, dance grooves and overall electric excess, while Untrue lurked in the shadows, a deeply poignant landscape of subtleties and atmospheres. Somehow, in a way only the men of Kraftwerk might understand, Alias has combined the qualities of both of these two albums. And, again, it must have something to do with hip-hop. Resurgam is a tug-of-war between acid-blast psychoses and gritty catharsis, the kind of grounded realism found in rap. And it transitions between the two styles gradually, as the album unfolds.

Things start out with “New To a Few”, a hip-shaking page out of the Chemical Brothers’ book that is obnoxious in an almost-delightful way…almost. Next is “I Heart Drum Machines”, which follows a Ratatat-like precision and sets the listener up for a series of systematic grooves. As the album progresses, though, the beats become less of a focal point and Alias begins to build upon sonic layers, adding a much-needed density to the album. It is here that Burial’s influence comes into play, as the music takes a turn for the serious. “Autumnal Ego” is a frostbitten lament that carries an affective dimension the earlier songs didn’t have, even going so far as to add such non-electronica elements as acoustic guitars and pianos.

Of the two contrasting styles, Alias works best when painting details. The more patient, refined tracks on Resurgam are the ones that leave the most lasting impression. It doesn’t seem Whitney’s strong point is cooking an all-out dance-a-thon. Like Rjd2, his mastery is triggering a deeper emotional poignancy. This works best on “Death Watch”, a song that has all the musical qualities of a dance song, but one that uses these tools to create an electronic epic that is entrancing, mysterious, and a little sad.

If Alias’ last two albums saw a transition period between genres, Resurgam is a transitional piece between two creative styles. The question is, which one will prevail? His blunt, inconstant dance beats, or his graceful, ambient nocturnes? The answer may determine his musical career.