Head here to submit your own review of this album.

When The Night Comes, the newest LP from UK bass-centric producer Breakage, is surprisingly sedate. Granted, it's not too much of a shock to see a producer so well-established as a pop mastermind and a drum & bass don come out with a release that's equal parts badman bass and stoic, carefully-metered pop licks. That being said, though, given Breakage's cred as a brilliant and incredibly influential DnB producer, When The Night Comes feels, above all, slow -- if it weren't so expertly paced, "plodding" would be the word that would come to mind. It's an ethereal beast, stuck in some sort of nether region between order and chaos, almost like a vicious, gargantuan creature tethered down in the underworld by the world's strongest chains.

To an extent, this was to be expected -- Breakage has spoken a few times in the months preceding the album about trying to "do away with [the drop]" in some parts, and it's clear he's tried to give his songs here a kind of weight they might not have if they were set loose. This attitude comes through most clearly when the producer is weaving vocals around his meandering basslines. The plaintive opening trio of vocal-driven tracks ('Revelation', 'Treading Water', and 'Stolen') work within a plateau of sorts -- there's really no peaks or troughs to be found anywhere. The chilly dubstep of 'Stolen' works particularly well inside this skeleton, coming through as a sort of bizarro-Top 40 hit with its unavoidably memorable chorus laid precariously over a slow-cooked bassline and crisp, meaty snares.

The tracks are somewhat of an oddity with respect to a lot of nasty, full-power tunes the producer is known for (especially when you throw in the punishing, exceedingly torpid 'Vellocet' to kick things off), but, strangely enough, they set the tone for the album's terrorized, subdued attitude. It's not till halfway through that the first full-fledged drum & bass tune breaks through ('I On U'), and with the low-end framework built up by the album's inception in mind the song's incredible (if altogether far too short) spiral into bass-heavy decay packs even more potent of a punch. Similarly, the killer jungle of 'Dedication' fits in far better between the club-ready house of 'Future' and 'Creepers' than it might have between two similarly destructive tunes, and its placement is all the better for it.

Altogether, there's still a little bit missing from When The Night Comes. Chained down as it is, it never really moves as much as it could -- the bass tones begin to blend together by the end of the album, despite the watery mood-swing of concluding track 'Bad Blood'. However, given the wonderful disconnect between the destructive low-ends and the moody, contemplative low-ends featured here, it doesn't feel like too much of an issue that the album acts as a showcase of bass-heavy pop and easily-digestible rave. All in all, When The Night Comes is unsettlingly monitored and controlled -- but that kind of discomfort makes for a pleasantly digestible experience.

This is the place you'll find reviews from 405 Readers. To join in, head here.