One of the newest members of the Tigerbeat6 Crew, Dwayne Sodahberk drops something that you'd sort of expect from the label, yet doesn't really ape anyone's style either. In 17 tracks and almost 70 minutes, he knocks out a batch of crispety crunchity tracks that loll along with playful melodies, but roll heavy with the feedback as well. Comparisons could be made to the more playful side of Aphex Twin and the like.
One of the interesting things about Sodahberk is that he does so much with seemingly so little. The opening track of "What I Can Do If You Don't Listen" is basically a three-note melody that lobs back and forth for the entirety of the track, but it's tweaked ever-so-slightly while layers of static and and absolutely huge, redlined beat almost lays waste to everything in its path. At almost 7 minutes, it might run a smidge long, but after getting lulled into it, you'll find yourself anticipating where the beats hit the hardest and waiting and anticipating. "Devoiced" rumbles along with another filtered melody and some racing beats, and once again the track has a generous sprinkling of static pops and clicks and pops.
As probably figured by now, one of the key things that Sodahberk uses to his advantage is a subtle use of noise. It's easily an element of its own (or multiple elements), and even though the base unit of the track might be rather simple, he's worked out a system to get maximum dynamics from it all. "Lagre (Long Play)" mixes a couple backwards melodies together while static yips and squelches before building into gargantuan beat fills. It's one of the shorter tracks on the disc, but it builds to such a quick, thick crescendo that it leaves you gasping at the end.
Elsewhere, he tackles tracks that are a little more straightforward, while still managing to give them a touch of his own. "Participateur" is a skronked-out rumbler that could have been electro at some point before he twisted it into the gurgling stew that it is, while "Control" skitters along with another backwards melodies and slick little bursts of distortion, making it sound like the track is wanting to implode on itself. "Fuck You, I'm Untouchable" is the only track on the album with vocals, and fortunately it's also one of the shortest. A mess of piercing static and monotone vocals, it's a slightly interesting diversion, but not much more. Elsewhere, the album rumbles right along, while only managing to hit a couple snags. If you like your electronic music thick and crunchy, Don't Want To Know You should be right up your alley.