Bola
Fyuti

Moving within the vast and ever-changing landscape of electronic music is not easy, especially due to the liberal nature of the genre itself. Reinventing instruments and sounds is therefore a daily affair, but if you were looking for the missing link between melodies and metallic sounds, Fyuti by Bola is what you're after. Even though there's not a trace of a "classical" instrument, Mr. Darrell Fitton's work is dense with emotion and passion, resulting in an album with many facets.

Similar to a movie soundtrack, Fyuti breaks down into distinctly separate moments, effortlessly jumping from icy coldness to almost disorienting warmth. The first two tracks seem like divisions of a single discourse and, left on play, blend perfectly into each other before introducing the most ingenious and original piece of the whole album: "Pae Paoe", deserving praise for its vocal effects and metrics. The rest of the album cradles perfectly without altering the sounds too much, making the work homogeneous, coherent, and with a clear underlying idea in mind. The closing track of the album is astonishing: simple, dense, and really spot-on.

Many names come to mind when listening to Bola, from Autechre to Boards of Canada, from the most melodic pieces of Aphex Twin to the minimalism of Alva Noto, but the Manchester lad has his own character and a well-recognizable style. Actually, no track in the entire album makes you wrinkle your nose, but it must be said that the repetitiveness of the central melodies might annoy those looking for scale variations or unaccustomed to nearly autistic structures. Compliments also to the equalization: practically perfect despite heavy bass lines and saturated sounds. Among all of Bola's discography, Fyuti (2001) is the most digestible work, catering to both those who love heavier electronics and those new to these sounds.

The most appropriate rating would be three and a half, but, depending on your emotional state while listening, it could easily reach four.