Beat making and music production is an environment in which it can be tough for a producer to stand out; it’s even harder to understand the identity they’re trying to cultivate as an artist unto themselves. And that’s why “Planet lll”, Roosevelt’s full-length 10 track album, is so impressive: it’s fully formed and confident, the clear product of a single person’s vision and taste even as it hops between sounds and rhythms with abandon. There’s roughly an even split between thumpers and more viscous, down-tempo material, and every track is the product of a vibrant mixture of influences. The Mississippi artist wants to break down the proverbial wall between the comfort of your headphones and the heartbeat of the streets. Transcending those genres through sheer computer sorcery, there will be a growing buzz about Roosevelt’s affinity for programmed beats that merge together the glossiness of ambient and downtempo with the heart of hip-hop.
Moving with capable ease between the warm keypads and thumping drums, “Planet lll” is the type of record that comes along once every so often that packs vintage goodness with future promise concurrently. Spearheaded by the piano-driven opener “Everything is Grand”, which transforms the snappy snare drum and twinkling keys into a space-aged hybrid, Roosevelt’s chords and dreamy synthesizers feature powerfully on “Vlxne Soldier” and “Snowing Outside”. On “Alone” the repeating piano motif adheres to a glossy sort of melancholic.
A more layered and lush arrangement manifests on “Roosevelt’s Interlude”, while Roosevelt himself finds sonic bliss in the languid title track “Planet lll”, and a euphoric twist on the more bass-leaning “The Sickness”.
Yet you’d be negligent in thinking that this eclectic producer rests on these laurels alone. “Torment” once again showcases the repetitive piano motifs which weave a web of intrigue, while “At the End of the Rainbow” boasts a distinctive urban beat. “Planet lll (Releauxded)” takes the original melody and underscores it with a harder hitting low end.
The album leans on the stylings and strata of chill-hop, as Roosevelt channels them through styles and sounds that many other genre-lovers can access. It’s a nostalgic jam managing the tricky feat of re-treading instrumental music whilst weaving a new thread for a generation of impressionable listeners.
It takes someone assured in his own prowess as a producer to create the requisites for a congruent position that will captivate a wide array of listeners. “Planet lll” is a record stacked with an adeptness of touch from a production standpoint, a modern tapestry that weaves in and out of genre folds.
Clocking in at just on 40 minutes, what is impressive about “Planet lll” is just how expertly curated the album is. The listener won’t lag once. While the album isn’t obscure, it’s definitely expansive and idiosyncratic enough to veer more towards experimentation and creativity than it will towards simply crafting radio hits.
With distinctive production touches, the record makes smart use of all its sounds. You never can you predict exactly where each song is going, but after a few tracks- you completely trust Roosevelt’s judgement.