This fifth artist album from Berkeley, California-based composer, producer and multi-instrumentalist Brian Transeau (aka BT) definitely represents a substantial shift of focus away from the sorts of moods, influences and textures explored on his most recent preceding 2003 album ‘Emotional Technology.’ Whereas that aforementioned record was touted by many critics and listeners as being Transeau’s ‘poppiest’ longplayer to date; his production work with the likes of N’Sync resulting in perhaps his most vocal collab-heavy collection, in many senses it came across as being somewhat less than the sum of its parts, with BT seemingly more keen to apply as much blinding software science as possible within a single track, rather than really standing back and taking in the full picture. In truth, ‘This Binary Universe’ couldn’t come across as a more divergent proposition if it tried, though in truth, the unmistakeable influence of early BT longplayers such as the distinctly filmic-in-places ‘ESCM’ is discernibly present at points.

The first album to be specifically composed and produced by BT for DTS 5.1 surround sound, ‘This Binary Universe’ sits far closer to labels such as ‘modern classical’ and ‘ambient’, with seven lengthy tracks clocking in around the twelve minute mark – something that will certainly induce flashbacks in the heads of ageing Orb fans (and indeed the aforementioned UK ambient house act are certainly a valid source of comparison at various points here). In this instance the DVD half of this two disc set represents the central focus, and as well as facilitating the 5.1 audio experience integral to experiencing ‘This Binary Universe’ properly, it also contains videos that accompany each of the audio tracks, further contributing to the filmic atmosphere surrounding this collection. Given Transeau’s established reputation for being at the cutting edge of digital production, that’s also not the sole impressive tech angle going on here; as well as showcasing BT’s increasing love of circuit-bending synths, toys and apparently even Furbys, ‘This Binary Universe’ also represents the debut of ‘Stutter Edit’ and ‘Break Tweaker’ – two custom programs designed by BT to exclusively achieve the effects he’s after.

Opening track ‘All That Makes Us Human Continues’ (apparently completely constructed using experimental programming language Csound over a period of six months) intimates that there’s going to be a dreamlike glide ahead, unveiling a filmic-sounding ambient wash of warm, reassuring string swells and delicate xylophone tones before buzzing and bleeping digitally-processed detritus gradually builds from the very edges of the mix into a cacophonous wall of noise that completely takes over proceedings. From there, the spiky electronics resolve themselves down into a crackling rhythmic pulse that proceeds at almost heartbeat pace, buzzing and crackling textures nicely offsetting the warm tones of a single steel-stringed guitar, as it slowly trails out burnished-sounding mournful chords and bends. ‘Dynamic Symmetry’ begins with the slow distant ebb of thunder, before fluttering, stuttery glitch-laden rhythms start their journey amidst some seriously tweaked-out and stuttered guitar chords, the melodic tones gradually re-melding amidst Oval-esque digital processing into a slow jazz-tinged wander that’s lead by warm double-bass, keys and swinging snares, with even a hint of hiphop snares entering the rhythms near its end. ‘The Internal Locus meanwhile offers up some of the most blinding production science on offer here; after opening with a digitally treated section that veers towards modern classical, sparse repetitive piano chords tracing a path against buzzing glitchy textures, it compresses the entire percussion line of the track down into just a few bars, ushering in a military-march style rhythmic sweep that acts as a interesting foil for film soundtrack-esque sweeps of dramatic orchestration before curiously opaque piano keys return to take things back into more placid waters; heck, there’s even a groovy little electro-rock section packed in right at the very end.

‘1.618’ (the number that represents the mathematical concept of the ‘Golden Ratio’) manages to mirror its conceptual content in the accompanying DVD video, with images of the Golden Ratio present in natural systems and organisms, while the track itself opens like an ambient wash of breathy drones before effortlessly flowing down into chiming melodic guitar tones and complex digital processing, spidery contorted rhythms ushering some unexpected bass distortion and timestretching, before delicate string orchestration takes things out into a final section that sits somewhere between ‘modern classical’ and coffee table chillout. Finale ‘Song For Kaia’ (a tribute to Transeau’s infant daughter of the same name) meanwhile takes things out on a note that’s reminiscent of a child’s lullabye, floating melodic piano keys drifting out off over a swelling backdrop of subtle bass, sampled live percussion fills and trailing harnmonics; it’s certainly a suitably effective finish, even if the accompanying video of infant snaps and footage does come across as slightly sickly-sweet to all but the most recent of parents. In short, it’s certainly a BT album sure to twist the heads of those expecting another ‘Flaming June’ or ‘Somnambulist’, and while many of the tracks show BT falling prey to prog-rock style indulgence and there’s a slight sense that his extensive musical training might’ve overridden instinctual passion at points, it’s overall a successful side-step for Transeau away from the dance scene. File this one alongside the likes of William Orbit’s well-mannered nocturnal sidetracks – in truth, on a well set-up system, the 5.1 is definitely a real treat.

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