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Amongst his Brainfeeder label mates, Matthewdavid stands out as the weirdest of the bunch. That's pretty impressive given a roster known, and adored, for wildly experimental, hazy electronic releases, but then he's probably the closest thing the label has to a quintessential artist. The tracks on In My World are a kaleidoscopic collage of sounds taking inspiration from LA's Low End Theory, dub, hip-hop, soul, R&B and electronica, the whole thing delivered through a fugue of lazy synthesisers, shuffling drums and rumbling bass. On paper it sounds perfect - a collection of late night electronic jams as meditative as they sensual. In practice things don't quite work out as you'd expect.

Whilst 2011's Outmind saw Matthewdavid dealing with introspective, LA-infused ambience - imagine the sound of a bustling city attempting to break through a glass prison you've constructed yourself and you're about halfway there - In My World sees the producer free and taking his sound in a more expansive and detailed direction. Yet this ambient sensibility remains in the way instruments, samples and vocals are layered over one another in such a way that each element of the song fights to rise above the others. Each track is a constant battlefield for the listener's attention, with a clear winner something of a rarity. Listening to the opening, titular track, you'd think the lyrics were the focus, but the delivery is so soft as to be almost lost amongst backing vox and looping samples. The production, which gives Matthewdavid's voice an ethereal quality, doesn't help as the lead vocals attempt to glide over a stumbling beat.

Things only get messier from there on in. Whilst vocally Matthewdavid attempts an R&B croon, it's clear that he lacks the range necessary to really carry a song and instead resorts to heavy manipulation, or simply burying his vocals amongst bass and vocal samples. Musically much of what's on offer, particularly tracks like 'Cosmic Caller', 'Next To You Always' and 'Singing Flats', recalls Lapalux's Nostalchic - there's certainly a similar late night, post club atmosphere. Yet whilst Lapalux's album practically exhaled a distinctly sexy vibe, In My World has all the grace of attempting to get sexy after a dozen shots of cheap tequila; if you end up getting anywhere, it's face first on the floor after tripping over your jeans.

The album's not without its moments though. 'Singing Flats' is easily the best track on here. A largely instrumental track, it blends a high-pitched female vocal loop, modulated to sound like an unspooling tape, with a catchy synthesiser lead that's given room to shimmer throughout the track. The beat meanwhile, is intricate, yet with the right amount of low-end oomph. It's one of the few cases where Matthewdavid shows what he can do with just a few simple elements and gives a hint at what he could be capable of.

'West Coast Jungle Juke' which follows is another track that really deserves attention. This time taking Matthewdavid's sound into the unexpected realm of breakbeat, it features the kind of skittish rhythm that sends limbs convulsing on the dance floor. All of this is set against a funky synthesiser lead that really shouldn't work on the track, yet somehow it's wrestled under control and provides one of the record's most surprising, and most delightful, moments.

It's just a shame that everything around these two tracks is such a mess. What clarity you get from the tracks comes practically dripping in cliche. "I'm going to give it to you" a voice whispers, before Matthewdavid chimes in with "all night long" on 'Perpetual Moon Moods'. The music, in keeping with the lyrics, seems to directly sample a forgotten, late '70s funk track, the tempo seemingly pitched at odds with the vocals. Indeed the sensation of listening to the record is like finding yourself halfway between FM radio stations, with one more twist of the dial (in either direction) sending you towards clarity and meaning. Matthewdavid is forever littering these tracks with too many disparate ideas and sometimes you find yourself wishing he'd taken more lessons from his previous LP and realised that less is more.

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