Ikonika's debut full-length is a big deal in the dubstep community for a few reasons. First, and most importantly, it's seen as an exciting extension of the various styles that have been swirling around the genre for the past few years-- specifically wonky and funky. The record also arrives with some cachet: It's only the fifth long player to be released by Hyperdub, still the genre's standard-bearer and the source of some of its most essential music. Ikonika's (real name Sara Abdel-Hamid) record is also one of the first high-profile dubstep full-lengths produced by a woman, and though that's moot with regard to her actual music, it's at least encouraging for what has been a mostly male-dominated scene so far.
Ikonika isn't the most musical or technical producer out there, but she does have a way with melody. In an interview with Pitchfork columnist Martin Clark, she told us, "I don't really know how to play keys. So I just smack them until something nice comes out." Okay, probably not the best defense of one's own work, but it is important to understanding how she differs from other dubstep producers. Instead of the meticulous, heady style that we've come to expect from the genre, Ikonika's approach is more spontaneous and direct, concerned more with impact than process. Her productions aren't as dynamic or complex as others' are, but they're arguably fun in a way that a lot of dubstep-- especially the traditional murky, low-end variety-- is not.
In terms of sound, Ikonika isn't that different from producers Joker, Rustie, and Starkey. Like them, she uses dubstep as a base for a jumble of styles-- in this case the wobble of wonky, the insistent thud of funky, and chiptune videogame sounds. Her pitch-bent synths are usually the focus-- they sit upfront in the mix and are manipulated to match a song's mood. Sometimes the album can feel almost cloyingly upbeat (there's a lot of very ramped-up, tech-y sounds) but there's also a good deal of variety. "R.E.S.O.L." nearly makes you woozy with its heavy, wobbling bass and distorted 8-bit squiggle. Videogames are a running theme, and certain tracks like "They Are Losing the War" really play up this quality. Others, like "Millie" are more slow-moving and syrupy.
Because of these distinct moods, the record works nicely as a full length-- it holds your attention, and the songs never bleed together. For those not expecting progressive dubstep, it's a catchy, immediate pleasure. But others who desire something heavy on craft, depth, and movement might find it insufficient. The record lacks some of those critical elements, but ultimately it's neither a great crossover dubstep-pop LP nor some kind of crude flop. It's a solid record. If nothing else, Ikonika's desire to inject some playfulness into a genre that could use a lot more of it is a good and welcome thing.
