‘Beyond The Curve’ goes in many directions, spinning a web that encompasses genres across hip-hop, jazz, electronic, and more. Multi instrumentalist Hector Lee Tut brings layers of intricacy through his dexterous playing, but perhaps the more intriguing part of the record comes in through his meticulous utilisation and curation of interesting samples across the tracks. “ Each person will have their “sweetspot” and my interest was always in grooves and rhythm – whether it be intricacy of Clyde Stubblefield, or the thump of John Bonham. “
From the opening elements of Warsaw Tombola, you’re hurled into a soundscape unlike any other. Its eerily haunting, almost dreary and daunting. There’s a flurry of sounds that barrage you from all sides, culminating in a maze like hedge that you navigate yourself through. A ticking meter that hits from the back while an overbearing static like purge of a bass pounds from behind. Pocket Change is more pleasant, a melodic and freeing style that you smoothly move between with ease. Tack Shuffle Jam sounds staccato in bits, an irregular and seemingly all over the place percussive element hovering over a keenly melodic and aesthetic guitar orchestration. Funereal Sound is Lee at his most ambitious, a haunting and ominous piece that is foreboding throughout. It’s mesmerizing, confounding, and hypnotic throughout.
‘Beyond The Curve’ is an experiential listen. It’s not ambient by any means, it’s pronounced and differentiated throughout. It’ll have you confused and excited to explore each subtlety again and again.