Album Review: Doldrums - Lesser Evil

Airick Woodhead, also known as Doldrums, propels into the discordant sonic circles of Canadian electronic music with his debut full-length, Lesser Evil. Already creating a buzz with his heady DIY shows, the release signals the end of a long held breath for many. Recorded on a laptop borrowed from Grimes with more layers than a hipster in winter, it's easy to see why Woodhead has nabbed a slot supporting Crystal Castles on their upcoming tour.

While lacking the sheer force of its competitors, the album compensates with a distinctive blend of androgynous ambience. The droning Intro conceives the love child of Bjork and James Blake before shattering synths break into single, Anomaly. With the exception of chaotic She Is The Wave, this is an album more suited to dark writhing corners than dance clubs. A melting-into-the-furniture, melancholic tingle is evoked; most encapsulated on tracks Holographic Sandcastles and Painted Black. Despite struggles to break through at times, the lingering vocal track is impossible to shake. It unexpectedly appears on your lips as an audible hum days after listening.

There are many quality influences contained in this confounding jigsaw puzzle. However, the pieces are so scattered that it's hard to put together a cohesive picture of what Woodhead is hoping to achieve. After the fourth or fifth try, a landscape starts to take shape that is both strange and intriguing. Lesser Evil is like a thousand pieces that look the same, but don't quite fit; a dark ocean fading into a night sky with shadows of strange creatures etched into the horizon. For those who like to work for their kicks, this will be a welcome challenge.