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Hypnotist Review by Matthew Forss

The following is a Hypnotist review by Matthew Forss. He gave the album a rating of 4 Stars (out of 5). Thanks for that. Hypnotist will be available on Valentine’s Day, Thursday, Feb. 14, 2013 on CD Baby as a digital download for the price of a specialty latte: $4.75. Physical CDs will follow, with a featured illustration commissioned by Asbury Park-based M Studio. The album will be in the iTunes store at default pricing. Read the review below.

Review:

New Jersey-native, Adam De Lucia, releases Hypnotist, a new instrumental album with several songs that combine the worlds of jazz with the modernism of electronic programming. The result traverses a fine boundary between new age and improvisational with equal amounts of jazz fusion without confusion.

“96 Heart Beats Per Minute” opens with a jazzy drum beat that is spacious and lounge-friendly throughout. The drum beat is joined with a laser-like horn line and crystalline guitar sound with reverberating synth sounds that add a layered effect. A fluid, almost chime or bell-like tone adds a little variety mid-song. However, the laid-back jazzy track contains a little guitar work that is vibrant, but reserved enough to still call it pure jazz. The drum-work as a whole is not particularly varied and innovative, but the rest of the instrumentation brings to life the jazz ambiance probably intended.

“The Dream” begins with a vibrant bass rhythm and various electronic horn sounds with a lively percussion set that is upbeat and classic experimental contemporary jazz. A little throbbing laser-like electronic sounds morph the song into a sort of spacey new age anthem with symphonic, almost rock instrumental qualities without the typical rock angst. The latter half of the song includes a light, rumbling guitar tune that ends with a carnival-esque sound seemingly borrowed from a group like the Trans-Siberian Orchestra. However, the song is still uniquely Adam De Lucia all the way.

“Cycle Plus One” opens with a bit of spacious keyboard washes and cymbals with a few drum beats. There are pizzicato-type sound effects and sparkling synth sounds that almost resemble a bit of new age transcendence. The new age effects are quickly changed to a sort of jazzy, lounge track with scintillating and rippling guitar work. The keyboard washes are utilized throughout, while a little piano work adds a lead in to the jazzy bass, horn-like sounds, and snare drum-type sounds. The fluid bass sounds are iconic and memorable during the latter half of the song. There is a bit of everything in this song, which ends as cinematic as it begins. Read More »

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Preview the Full Album

Preview Hypnotist, my Valentine’s Day studio album, in full on SoundCloud.

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8 Songs for the Price of a Specialty Latte

This Valentine’s Day, Thursday, Feb. 14, 2013, our new studio album Hypnotist will be available on CD Baby as a digital download; eight songs for the price of a specialty latte: $4.75. At our listening party landing page you can preview clips of all songs to appear on the album, download a song from the album for free and read three album reviews to be posted by next week.

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Illustration Commissioned for New Album

We have instructed M Studio to commission an illustration of a hypnotic eye surrounded by “chimera-like skin” for cover artwork and a CD surface print for our new studio album titled Hypnotist, which will launch on Valentine’s Day, Feb. 14, 2013. We gave them our direction that the artwork be sexy, fun and like something from a fantasy film.

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Grammy Winner Remasters Our Audio

Grammy Award-winning Carriage House Studios has delivered six remastered songs that you can hear in their entirety at this landing page.

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Review of EP (Deluxe Version)

Typically featuring a one-man band, EP (Deluxe Version) by The Tektonics was always destined to rise or fall based on the creative stimulus of Adam De Lucia. As the multi-instrumentalist and cunning programmer adds layer upon layer to this album, it simply soars.

“The Far Groove” sounds like its name, as De Lucia opens the track playing a pair of guitars—one engaged in a skittering, vaguely Eastern improvisation, the other in a grease-popping secondary signature. A poised, unflappable rhythm allows the song to smoothly switch gears, sounding at times like a jittery bebop side, at others like the plain talk of the blues. De Lucia makes every note count, breaking down during the song’s midpoint to indulge in a guttural groove, then taking a sharp left turn into an almost mathematical series of runs on the electric. When the song returns for a final run at its brilliantly enveloping opening statement, De Lucia somehow plays with an even fiercer determination. The song is a stunning personal achievement. Read More »

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