To me, the oceans are a vast, mysterious and mostly unexplored location, certainly a very interesting theme and even more interesting to see it translated to a musical form. Subp Yao is a very interesting artist to me. I do not generally directly seek out his sound, but whenever I bump into a tune of his there is pretty much always something about it that I like. I can’t quite put my finger on it as to why this is, but something seems to always resonate with me. It is for that reason why I was very excited when I heard the announcement of this release.

Subp Yao in my experience has two kinds of sounds. One which is raw and aggressive, the other being more refined and polished. It is the latter sound that he generally has my attention for, and I feel that this style is one he is expanding on in this album. There are 13 tracks in this release, so I’m sure Subp Yao will have had plenty of room to express any diverse musical ideas he may have come up with. I have high hopes for this one.

Chasm:

The release starts off with Chasm, which is a short introductory ambient track which clearly aims to musically express the ambience of the deep reaching waters. The wailing strings in the initial section immediately set a very strong mysterious atmosphere, one that you could imagine being the backdrop to floating around in the dark ocean, with only the occasional light coming from bioluminescent creatures lurking below.

A little over halfway through a powerful distorted bassline suddenly rips through the track, replacing the atmosphere of mystery and serenity with impending danger, which is the reality of most deep underwater places really… The aggressive tones of the bassline stay for a bit, but then abruptly disappear as quickly as they arrived, leaving me a little flabbergasted. It’s hard to directly judge introductory tracks such as this one as I believe they mostly tie into the release as a whole, but it is safe to say that Chasm has sent a pretty strong signal of what is to come.

Wax and Wane:

Subp Yao kicks off the release hard with this one. Wax and Wane starts off very quiet, with its quiet muffled drums and minimal wobbly pads. I am pretty sure this is done on purpose to set a stark contrast as just before the drop a heavily distorted synth presents a perfect “oh shit” moment before the track drops its brilliant heavy halftime beats and punchy wobbling bassline straight in your face. The track goes further than just being blunt heavy music however. The snare has a slight woody texture to it coupled with a reverb which sets an interesting empty and hollow soundscape, furthering the theme of the release. Not much later the pads from the intro are reintroduced, coupled with a lovely crystalline synth that transforms the raw power of the track into something incredibly soothing to listen to, which I have to say is incredibly well done and certainly one of my favourite sections of the entire release. At about three minutes in, it appears that the track ends, yet Subp Yao is not done. Following the previously mentioned comes yet another wonderful atmospheric section layered with soothing pads and dreamy effects.

It sounds as though this is a track attached to another track, but the change of pace is more than welcome so you certainly won’t hear me complain about it! In its not hugely impressive 4:14 duration, Wax and Wane has managed to present an awful lot of musical variety which on its own already makes the track stand out for me. This is a track that combines two of the things that I seek out in music and does them well. I really love listening to this track! Certainly a favourite of the release for me!

Closed:

Closed opens up with an interesting out of tone pad section that gradually morphs into a nice soothing intro that features some lovely soft bell sounds. A vocal sample introduced not much later sets the hook for the track for me, after which the track drops in typical Subp Yao fashion with a heavy grinding bassline. The bass is certainly what carries this track, as the drums are not particularly complex. For me, this track lacks some depth, though I still quite like listening to it, and the track still manages to set a strong atmosphere regardless. One thing I will have to say about Closed is that it’s a very good initial showcase at how good Subp Yao is at integrating his vocal samples. The sample used here is present throughout the entire track, but spliced in all the right ways.

It comes across as genuine singing which is too unintelligible to understand, something which I actually really like. Another thing which should be mentioned is the small melodic outro at the tail end of the track, which has a different key and near enough stands separate from the rest of the track. It is much shorter than Wax and Wane’s, but I find it very gripping still. There seems to be a theme here. All in all, Closed for me is a good track, but one that faces some serious competition with some of the other music in this release.

Shimmer:

Shimmer’s distinctive hi-hat intro pattern makes it instantly recognizable in my playlist. The track does not fool around and after a short intro section near enough immediately flows into the deep rolling sub-bass that gives this track a very characteristic sound. Shimmer is certainly meant to be a bit more of a laid back tune, which is a welcome change of pace. Halfway through the track the key of the track changes which to me is very interesting, as this now aligns which the garbled vocal sample used after every 16 bars which makes for a very interesting harmony.

I actually like the track more after the pitch change – it almost seems as if the first minute and a half of the track are an introductory section to the second half, where Shimmer really… well… shimmers? That is perhaps an understatement though. I think the track is really good as it combines some interesting sound design in a small package. For me, Shimmer does not necessarily stand out in terms of how much I like it, but it is qualitatively very good and surely will find many fans in those who are interested in the more relaxed side of halftime music.

Hush:

The title of this track is interesting. Hush’s intro is very very long and perhaps encourages the listener to take it on a quieter note for a moment. It takes a little while for Hush to build up, but slowly but surely the intro unfolds into a rather brilliant melodic soundscape, layered by a moderately aggressive but at the same time pleasantly sounding bassline. In particular, the two toned piano-esque sounds that layer the intro are incredibly well done and are instrumental in making this one of my favourite sections of the release. Not long afterwards though Hush presents some bitter irony as the track unfolds to reveal some of the craziest and intricate drum programming I have heard to date. Perhaps I am naïve, but I was not aware that this was also part of Subp Yao’s musical toolbox!

Clearly, a lot of work went into the creation of these drums: near enough every section of them is unique in both pattern and sound variety, almost as if it is a drum solo. This track becomes an absolute joy to listen to once the introductory pads are reintroduced to the percussive madness that makes this track stand out immensely. Hush for me is one of the greatest surprises in this release. The level of creativity and complexity stands out tremendously, and both are combined into a piece of music that is very easy to listen to at the same time. This is definitely one of the stand out tracks of the album!

One More Step:

Now here is a track I really like. One More Step’s magic lies all within its musical layout. First, an interesting bubbly pad slowly builds up the momentum after which a prominent vocal leads to the drop. The first section carries a slower paced beat, similar in some ways to Shimmer. There are a number of faster paced elements here that give the track a bit more energy but the first few minutes only convey a false sense of atmosphere. The real killer bit of the track lies beyond the second drop, the intermission to which Subp Yao has padded out with a long section that brilliantly builds up tension. When the second drop hits, the track suddenly goes full party mode as it speeds up to double its original tempo.

A few moments later this brilliant change of pace is reinforced by some rapid interlacing amen-like snares, resulting in a piece of music that you simply can’t help but nod your head to. There are no fancy pads or melody to be found here, the beat is solid enough to carry this excellent track all the way to its closure. Perhaps the only criticism I would have here is that the final climactic ending to the track is perhaps a tad too noisy, but this certainly does not stop me from believing this to be one of the best tracks of this release.

One Man (ft. dOOp):

I will have to be honest here. I did not really like this track at first. One Man, at first glance, contains a lot of the wackiness of halftime/lo-fi music which I find unpleasant to listen to. However, for some reason I keep finding myself being drawn back to it. Maybe it’s because I don’t really understand what’s going on and I’m trying to figure it out. One Man is perhaps more of a throwback to Subp Yao’s harder style. The heavy kicks and growling bass are layered by dOOp’s prominent noisy and breathy vocal lines, which are admittedly very well delivered and carry a feisty punch.

The track also features a large number of sections with empty space, and changes key a fair amount of times. Most of the track is also layered with a bubble-like effect, which is a funny tieback to the theme of the release. The resulting soundscape is a very strange and mysterious amalgamation, but it fits well within a darker theme that Subp Yao is perhaps trying to set here. Interestingly enough, this track yet again contains an unexpected little melodic snippet at the end. There is a lot going on in the 2:34 that this track lasts. Maybe it’s not really my kind of music but I am intrigued by this track nonetheless.

Reelwitu:

Oh man. If there was ever proof of how versatile Subp Yao is, this track is it. Reelwitu is a track that stands on its own in this release musically, but it contains elements of many of the excellent themes found elsewhere in this release and combines them into what I believe is the absolute crown jewel of the album. Reelwitu’s intro does a great job of slowly building up the track’s rather festive atmosphere. One key element of the track that is introduced here is the vocal sample used. I have written earlier that Subp Yao appears to be very good at manipulations of these samples and this track proves it once again. The track’s core essence is revealed after it drops with its slightly rough bassline setting a heavy tone, but one that is warm and pleasant to listen to. The percussion is punchy enough to support the force of the bass but it is not too heavy, and features a very good rhythmical layout that gives this track its great atmosphere.

The track for me becomes complete once it starts jumping between its 8 bar melodic patterns and the vocal is reintroduced, the vocal providing a memorable hook to the track but not taking any prominence over the brilliant music. Another great thing is the break in the track about 2/3 of the way through which provides a nice change of pace before Reelwitu continues its party vibes once more. To make things complete, Reelwitu also contains a long atmospheric outro that seems to stand separate from the track, but is interesting to listen to as it somewhat warps the vibrant atmosphere into something much more dark and ominous before the track finally comes to an end. This happens after 6 minutes and 28 seconds worth of pure listening joy, which makes this track the longest of the album. There is not a single doubt in my mind that this is the best track on the release, and certainly my personal favourite also. This track is an absolute testament as to the musical diversity of this album and how far Subp Yao has come as an artist.

Damaia:

Whilst I prefer other tracks in this album, I actually quite enjoy listening to Damaia every time it comes up in my list. I believe this is mainly due to its incredibly gripping vocal sample which is immediately recognizable. I’ve mentioned a number of times before how Subp Yao does his samples well, here’s another example. Damaia is actually quite a heavy tune, even though it doesn’t appear it at surface level. The drums, notably the kicks, are quite vicious and carry a slight drag to them. The deeper sections that follow the catchy melodic intro are perhaps a bit simple, but still carry an interesting rhythm nonetheless. I also like that Subp Yao uses a different snare for the two sections individually. Damaia does not evolve much more beyond this musical setup other than the addition of a very amusing sounding ringing synth near the end of the track. The melodic sections and the vocals of Damaia definitely make this track for me though.

After doing a bit more digging on the name, I understand that this track is probably meant to be a tribute to the late Razat. I will confess, I am not hugely familiar with Razat’s sound, but I do know that he and Subp Yao have worked together in the past and were likely good friends. Clearly, for Subp Yao this is a special track made for someone who was special to him and I take time to appreciate that when I listen to it.

Mad and Mean (ft. Warrior Queen):

Mad and Mean is the second vocal track on the album. One Man is a strange track, but it has an enigmatic allure to it. Mad and Mean unfortunately does not give me the same vibe. I believe the main reason for this Warrior Queen’s vocals being much more prominent and a larger focal point. Purely from a personal point of view, I do not find them very gripping. This leaves the underlying music as the thing that interests me the most but unfortunately I feel that Mad and Mean initially lacks here. Subp Yao has deliberately chosen for a heavy, yet simple beat pattern with a lot of empty space to bring forward the vocal lines. This is completely understandable and cleverly designed but for someone who focuses on them there is not much to find here.

Fortunately, the track redeems itself during its “refrain” where a prominent flute synth and subtle use of reverb create an eerie and ominous atmosphere, which is actually quite good. This part quite literally gets “reshuffled” as directly mentioned in the track. I do not usually like this either though it does bring back the things in this track which I like the most, so it’s a bit of a mixed bag. I am sure many others who like their vocals will really like this track and will probably disagree with me on this, but aside from a few interesting points Mad and Mean has simply failed to captivate me as strongly as the other tracks on this album.

Trenches:

The ocean’s trenches are a dark, dangerous and unforgiving place, so it is a fitting title for what is perhaps the heaviest piece of music on the album. Trenches sets an extreme contrast with its short intro being comprised of nothing but quiet, eerie sound effects, after which a rather humorous vocal leads the track into a monster of a drop where the awesome raw power of Trenches’ gritty bassline is fully unleashed. This track has no tricks up its sleeve, merely being a simple demonstrator of force as the heavy drums keep punching and the bass continues to snarl and warp around itself.

The madness does not last long, as the track’s intensity disappears as suddenly as it once appeared. As another show of contrast, the outro of this track sets a dark and ominous soundscape though which a morphed voice educates the listener about deep water trenches. Lame joking aside, this outro is incredibly well done. Trenches is a simple, short track that sets out to accomplish one goal, and does it excellently. There isn’t much more to say. I really like it. Well done!

Filter Feeder:

Having a very fitting title, Filter Feeder is a solid and slow moving track like most of the select category of animals it is named after. Filter Feeder’s distinct feature is its wobbly bass with its occasional squeaky sounds that sets the basis for the whole track. Another feature that makes the track quite funky is the random saxophone assortment just after the intro which gives the track a likeable odd vibe.

The underlying percussion is another point of note. The drums takes a bit of a background to the track’s dominant bassline but they are noticeably more intricate than what you would normally find in dubstep. Filter Feeder’s interesting rhythm as a whole makes for a very interesting track to listen to. Like some other tracks on the album it is not very long and only sets out to deliver a specific sound. I feel that Filter Feeder is one of those tracks that would benefit from being a bit longer as there is definitely a base allowing for variation here. Alas, it is as such, but still really like listening to it as it stands!

Lost (Floating):

Lost finally ends the album with a mellow vibe. The initial mildly distorted lead and melodic arp set the tone for this track, as they are present throughout. The lead, interestingly enough, is looped in such a way that it stutters, but forms a rhythmical pattern at the same time, which I think is a very clever way of doing things. The general atmosphere of the track is one of chill and relaxation. The underlying beat is simple and effective, yet I can’t help but feel the kickdrum punches through a bit too hard. Halfway through the track, a distinct drag is introduced to the beat and the music becomes a bit more unstable as an interesting diversion. The track soon continues to further lay down it’s mellow beats until the end, where a slower, vocal laden outro ends the album.

This outro features a melody that is closely related to the general sound of the track, however here on its own it changes the mood of the track and instead creates a very strong melodramatic atmosphere. It is as if Lost, after all it’s relaxing vibes, attempts evoke sadness or a feeling of emptiness. I cannot help but think that this track is intended to be a further tribute, or an expression of emotion from Subp Yao himself. Lost regardless ends the album on a very strong note. I find the atmosphere it sets very captivating and I just really like listening to it as a whole!

Considering the high production quality, the large amount of tracks and even larger amount of musical variety I can only say that Subp Yao has delivered an absolutely extraordinary album. It was to be expected really. I had high hopes and Subp Yao has most certainly delivered on any expectation I had, and on occasions beyond them as well. Infra Aqual manages to deliver an enormous amount of varied musical output whilst still staying true to the strong underwater theme running through it. It has plenty of tracks that I really fancy - some of which having become favourites across my entire library of music.

The album has its lower points when it comes to my own personal taste but that should certainly not get in the way of Infra Aqual’s overall grade. Subp Yao has proven that he is incredibly capable as a musician and after this performance I am extremely excited what he will bring to the table in the future!

Final rating: 9/10

Favourite track: Reelwitu

Infra Aqual is out now, and available to purchase here on YUKU.

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