Some men aren't looking for anything logical, like money. They can't be bought, bullied, reasoned or negotiated with. Some men just like to make really weird sounds with their synths.
Joker - The Vision (2011) – 4.6 / 10.0
4AD
On the writing program I use, dubstep is considered to be a misspelled word (suggested alternatives include “dustup” and “doorstep”) while neither electronica nor dancehall get flagged. The genre’s popularity grew dramatically in the past year, but it hasn’t jumped every hurdle on its way to mainstream acceptance. Joker’s long-awaited first full-length album, The Vision, is probably the genre’s best bet at changing dubstep’s image in a positive manner (from “club music for people who don’t know what clubs sound like” to “true art”, whatever that form may be). That would make for a great story, but it seems as though Joker didn’t get the memo.
I hate to sound like I know what’s going on in an artist’s head, but there seems to be no feasible explanation for most of The Vision except that Joker was under the impression that anything he did would have been hailed as brilliant. Many of these tracks could have fit onto a Timbaland album without anyone batting an eye, and that’s when Joker isn’t following the formula that most dubstep songs gravitate towards (“wa…WA…wawawawawa”). That the title track aims for Daft Punk but lands on SkyRoads should indicate the kind of mess I’m talking about.
“Level 6 (Interlude)” is perhaps the best indicator of Joker’s view on his own album. The song is sequenced halfway into the album and is basically a low-grade remix of a song from Sonic The Hedgehog. It is the kind of move that Daft Punk or the Avalanches would concoct: a punchline with the setup being the brilliant music that preceded it, circumstances that don’t apply to The Vision. Strange—you would think that someone named Joker would have a better sense of comic timing.
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