Philadelphia's producer Paul "Starkey" Geissinger fused
the dubstep coming from England with hip-hop and obtained "street bass", a variant of wonky, via
EPs Local Headlines (2006),
Corner Store (2007), with Corner Store Riddim,
and NC-17 EP (2007), with Pins,
and especially the single Bounce (2007).
Ephemeral Exhibits (2008) contains both propulsive tracks like
Gutter Music and Pictures and anemic shuffles like Miracles (that uses high-pitched vocal samples).
Ear Drums And Black Holes (2010) contains
(and science-fiction inspired)
songs like Alienstyles and especially Spacecraft
as well as moody raps like Numb (rather tedious).
The instrumental tracks seem to search for a new-age kind of contemplation.
The only standout is Stars, whispered by an angelic female singer
over the most ebullient (almost Brazilian) rhythm.
Orbits (2012) dabbles in a hodgepodge of styles
(ambient, dubstep, electro, and mostly new-age melodies) without succeeding
at any. It omits the single Solar Flare (2012), perhaps his best
The Transponder Orchestra (2015) indulged in oddly amateurish
experiments like the seven-minute symphonic electro-hop This
and the ten-minute drone fantasia We Get Lost Among the Crowds.
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