Popularly known for their avant-garde electronic soundscapes, Untitled Art returns to the music world once again with two new offerings. Untitled Art’s journey begins in the minds of its members David Hugh Sempier and James Linton. Back in May of 2018, I had a chance to cover much of the group’s catalog and profile in an article entitled The Brilliance of Untitled Art. Today, however, we will review Untitled Art’s latest offerings.

The Change (Part 1) is a very impressive effort that ingeniously merges elements of experimental music with the joys of EDM. Different than many recordings falling under the classification of electronic music, The Change (Part 1) is not just some random exchange of samples and synth sounds, but an orchestra of a sonic melody composed and structured in the same measurements as that of a live band. The Change (Part 1) draws from many symphonious particles outside its genre, including classical and funk music. The Change (Part 1) is an exceptional tune whose appeal can even capture the attention of devotees of popular music.

Love Will Tear Us Apart (Part 1) is an amazing cover of Joy Division’s classic song. Untitled Art’s version is set in a slightly darker overtone that compliments the original version and is appropriate for the song’s theme. Untitled Art sets up an amazing drum pattern that strongly resembles an oasis of drum & bass music. Along with an overcast of synth sounds, the musical foundation of Love Will Tear Us Apart (Part 1) proves to be the perfect podium for the track’s superb electro-vocalization, which is effective in painting a picture in the mind of the listener. This is an essential part of the track’s vibrant execution that is best experienced for its effect to be fully appreciated.

Respectfully, The Change (Part 1) and Love Will Tear Us Apart (Part 1) demonstrate an unprecedented growth in the evolution of Untitled Art’s sound. Truly, Sempier’s vision has reached another plateau that is remarkably enjoyable and will prove to be of benefit for generations to come.

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