FUNNY ACRONYMS!
But seriously, I love ISM. Run to YouTube, or the Pirate Bay, or, you know, spend money or something. I'm not exactly sure how that works. Something about credit cards? Here, I'll even embed a video in this post, you lazy bastards!
I guess I have to review this now to fill my obligatory sycophantic rambling quota. Ahem. Savant's ISM is the second best electronic music album I've heard in 2012, which is a truly meaningless statistic as I am by no means an expert on electronic music. In fact I hardly listen to the genre at all, considering I come from the much more analog medium of rock and metal. The simple fact that I bothered to listen through the entire album says a lot about Savant's abilities as a composer.
The album is almost entirely devoid of any of the cringe-worthy moments of lazy songwriting in electronic music such as looping unremarkable melodies, relying on effects over substance (a major hurdle most dubstep artists fail to clear when applying their characteristic distorted and envelope-filtered sound to a bass line) or including uninteresting and clichéd chord progressions, rhythms and melodies in their songs. If anything, he mostly does the contrary: longer melodies akin to some genres of rock, using amazing effects to complement the great music, and occasionally mocking or referencing the classic chiptune sound before adding his touch to it. I can thoroughly enjoy ISM the whole way through, something I rarely experience in electronic genres.
It does more than simply "not fail" though: it excels with its driving glitch-hop or groovy rhythms and oldschool chiptune-influenced melodies. It also successfully crosses the boundaries of many electronic genres, including the ones I previous mentioned, along with some nu disco and electronica. As a musician, I'm also a huge fan of the sound of this album. It's a solidly mixed and well produced album, but that's nothing compared to his use of flanging, the glitch-hop standard of lightning-fast sampling and cuts and the tone of the different bass and lead sounds he incorporates into the music. It all makes me want to figure out each individual sound and find ways to emulate it in an analog format. ISM's sound really adds another dimension to the album on top of simple enjoyment of the good songwriting.
I don't feel it's necessary to go through each song in great detail, but of particular interest is the 8-bit chiptune sound in Prelude, Starfish and Ism (among others), the funky hyper-edited vocals in Cry For Love and its groovy bass line, and the cool tremolo effect in Mystery.
Now go enjoy some great music!