This is a record about trimming the edges of electronic music and taking it to an altogether cohesive, and somewhat organic, block. Most of the artists featured here seem to dream of static every single night, and evolve from the minutia assembled while between white sheets and fluffy pillows. "Devil in the Detail" is not an album for indiscriminate consumption by the Saturday-night masses as its microscopic foundations only caramelize into chilled-out sculptures, if anything.
The opening track, Faction’s "Molten", makes you skip one heartbeat or two with its sparkling, little cells of noise. Often dismissed as pure trash, static is key to the understanding of both this record and an entire chapter of contemporary electronic music. The way it gently flows through the different layers of an existing pattern makes static a layer in its own right.
That’s probably why Cheju’s "Ergl" sounds so tight and narrative-like, even if the overall production is meant to sound detached and at large. The underwater number, Good Buddha’s "Party Reserve", as remixed by Tipper, is better enjoyed by geeks with big glasses and a laptop under one arm than the common man that plays electronic music just for fun. And there’s absolutely no problem with that, mind you.
Gaudi succeeds in designing a little call-and-response approach to "Analogue Criteria", a step fairly seconded by Vibesquad and the non-perishable track "Kaleidascone". Only 15 minutes before the final arguments, the glitch factory finally opens its doors with "Orgone Motor", executed by Tripglitch.
"Three Ring Nebula" is also worth-mentioning, not only because it’s done by Eat Static – and quite honestly, that’s what this is all about –, but also because it sums up the spirit of the entire record, as it wrestles its way to your ear. "Devil in the Detail" is like a painting, only the canvases are bigger and less intrusive.
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