An electronic loop artist and beatmaker from Perth, Western Australia, Warren Skane has been taking licenced loops and samples to create his own unique compositions. A diverse artist who is unafraid to experiment, Skane’s work has delved into the worlds of rap, hip-hop, rock, EDM, and pop, taking elements of each genre to make something new.
With ten albums and one EP already to his name and streaming now on all music platforms, and plans for more music already in motion, it’s easy to see Skane as being one of Australia’s unrelenting creative forces.
His latest release is ‘All in Good Time’, a fifteen-track collection of Skane’s own creations that have been pieced together in Frankenstein fashion. Opening with ‘Adrenaline’, the album kicks off with an immediate heavy rock vibe, bringing in electric guitars and smoky females vocals that soar above it all. It’s impressive, but all too easy to pick apart, with the seams between the loops causing an unexpected stuttering effect, particularly in the choruses. Following track ‘I Need You’ changes direction slightly, mixing light, rapid-fire percussion with a relentless, heavy bassline. It’s powerful, almost unassailable sounds, and really quite enjoyable, even if the chorus remains a little muddled by the layers.
By the third and fourth tracks the sound of the album seems well and truly set, along with its flaws, but ‘All in Good Time’ has a few surprises left within it. Songs like ‘Supergirl’ and add some quick-fire energy to the mix along with some interesting diversity to the heavy rock format, while ‘Smoke in Flames’ plays with death metal flourishes in an interesting way. Penultimate track ‘Tournament’ brings to life a confusing mix of hip-hop, EDM, and electric guitar, while closer ‘Years Gone By’ looks to bring in more glistening, almost ambient tones with uniquely remixed vocals clashing with genuinely entertaining strands of sound.
It’s a genuine mixed bag release, one where every track has its own character and its own flaws. Some songs are carefully constructed and wonderfully visceral, forging the sounds of live band with impressive clarity, while others suffer from their repeated use of loops and flat sounds, particularly in the choruses where the instruments don’t rise together as one, and instead stand in each other’s way, creating a mess of sounds that tends to be indecipherable. In the end, ‘All in Good Time’ is an entertaining cacophony of sounds that makes you wonder, what more could the songs be?