James Egbert authors his audio journey as full length album, ‘The Void’ [Review]
More and more, electronic fans seek music with substance and artists with a message beyond recreating a tired party house beat. James Egbert aims to deliver to that more receptive dance music audience with his full-length album, The Void. Unique to his 13 tracks, Egbert has artfully designed a nearly seamless experience within his LP, as one track gracefully blends into the next without a hitch.
Conceptually, the Denver native hopes to portray a steadied tale that arches across the span of The Void, beginning with the delicate, but foreboding twinkles of his intro, “The Crest.” “The whole point of the album is to discover where you are and who you are,” Egbert clarifies. Allowing his audience to provide their own interpretation to his message, The Void dives straight into a flurry of signature melodic tones within “Tear the Facade” and “Exit Wounds,” but skillfully so without forsaking powerful electro house slams.
Though interconnected, each track still retains its own distinct flavor. “Falling or Fallen” takes hold of glitchy synths and vocoded lyrics for a crisp kick into The Void‘s apex. Immediately following, a piano melody instills a change of pace with “Smoke Signal,” but not without another hard-hitting electro blast. Then, Egbert invites Los Angeles’ ETC! ETC! for a noticeably different vibe all together. A combination of ETC! ETC!’s coarse moombahton influence drives “The Climb,” as the name suggests, shooting upwards: James Egbert’s new arsenal of tracks speak for themselves, swelling and waning in harmony with one another, but never forgoing house music energy.
“Evening’s Gradient” serves as The Void‘s minute-long refreshing interlude. Reminiscent of a roller coaster’s drawn out rise, the track immediately, and nearly unnoticeably, launches into “Autumn’s Fading Sun,” followed by yet another piano melody intermission. Perhaps as the tension climax of his Void story, the dark melody of “Broken” begins siphoning into pulsating glitch taps.
Picking up in energy once again, “Pep Talk” is where listeners will begin to understand Egbert’s ideology behind the story of The Void. Hurling back into thick, grimier electro bursts, the tune marks the album’s closing chapter. A new depth is birthed in Egbert’s pre-released “You and Me,” a perfectly titled embodiment of the producer’s central idea. “The whole album really is talking about essential character – it could be you, me, anybody in the world. I want it to relate to everybody.”
The Void‘s second to last slot showcases James Egbert and Dirtyloud together for “Floating,” a barrage of electro growls and character from each. To bring the album to an end and leave a lasting impression, an otherworldly shower of sounds makes way for the explosive finish of “Zenith.” Egbert brings his tale to a warming conclusion with his last binding track. “Quite literally, [“Zenith” is] the space directly above the highest point on the horizon. The meaning is that we are all meant to live, so connected to who we are as a person, that we are always at the top.”