Iota
Spotted Peccary (2025)
Bryan T. Hughes (the man behind Aetopus) is one of those artists who I have a love/hate relationship with as a reviewer (not as a listener). I love his music but with every review I write, it gets more and more difficult to write about his music in any concrete descriptive way, which is my modus operandi. Hughes simply defies easy categorization, as well as using anything but abstract language to describe his music. In my opinion, he just may be at the top of a list of electronic music artists when it comes to music that is unique, imaginative, and brilliant in composition and performance. And yet, somehow, unless a person loathes electronic music, he still manages to make it (a) accessible, (b) enjoyable, and (c) approachable. His latest release, iota, just underscores (in triplicate!) these comments. I mean, come on, man. Take it easy on your reviewers!
Okay, all kidding aside, Hughes takes listeners to places that no one else dares to go to, yet does so in catchy, inventive, and not-so-complex-as-to-be-alienating ways. In previous reviews, I have made references (relating to similarity or influences) to everything from Robyn Miller's soundtrack to the computer game Riven to William Gibson's assorted cyber-science fiction books, e,g, "Mona Lisa Overdrive." No matter what comparisons I mention, nothing truly equates.
iota draws from a variety of electronc music styles/subgenres, including (but not limited to) Berlin school, glitch, spacemusic, and ambient. But that's like listing just the colors in a painting and hoping that those are sufficient in explaining how beautiful said painting is. Another element of Hughes' music is that, even though track-by-track there are multiple differences, there is a noticeable "sameness" that is uniquely Aetopus. Some of this is due to his choice of keyboards and electronic sounds. However, there is another undefinable element behind his, for lack of a better term, "oeuvre." It's been there since his debut album, 2002's Memories of the Elder of which I wrote "While it's nothing if not accessible, it's also an exciting and different take on keyboard music that I never grew tired of, even when I played it back-to-back."
It's this creative element that continues to amaze me with each of his releases. Also, he must have attended the Tim Story class on cryptic song titles. Look, there's nothing wrong with naming a song something concrete, even a title that tells the listener what a song is about or what the song's inspiration is. But titles like "Mohhu," "Finespun," "Subsystem," and "Level," sound more like chapters in fantasy or SF novel. Let me be clear, I love this factor of Hughes' music. It helps to create mental images while listening to his music (granted, I am a giant fantasy/SF fan, which helps). As I stated above, and in at least one other review, I look at the music of Aetopus (which includes iota, obviously) as a sonic interpretation of a genre that blends retro-futurism, cyberpunk, and ancient mythology
Finally, again as with all of his releases, the production quality is absurdly flawless. Every melody, beat, synth wash, acoustic rhythm is perfectly placed in the mix. While I have enjoyed iota and Aetopus' previous work on speakers, it's with headphones (of a high quality) that the album(s) shine brightest. Listening to iota becomes an immersive experience that, with enough imagination on the listener's part, can be enjoyably overwhelming.
There's really no point in my selecting specific tracks for "description" or to say "this is my favorite." There is so much "good stuff" on the album's thirteen tracks and all of it is jaw-dropping in both brilliance and imagination. It's like being on a whirlwind trip and having the giddy expectation of "I wonder what's coming up around the bend next?" But, then, the surprise only enhances the sense of wonder and fulfillment, doesn't it?
ALBUM CREDITS
Album composed, performed, arranged, and produced by Bryan Tewell
Hughes
Mixed by Bill Simpkins at Aspenglow Sound Studios,
Bellingham, WA
Mastered by Howard Givens at Spotted Peccary Studios NW,
Portland, OR
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