Sean Deason ‎– Allegory & Metaphor

Label:
Intuit-Solar ‎– ITU 1006, Intuit-Solar ‎– ITU-1006
Format:
CD, Album
Country:
Released:
Genre:
Style:

Tracklist Hide Credits

1 Creation 5:55
2 Phunk 6:10
3 Allegory & Metaphor 6:51
4 2030 AD 7:00
5 Ambience 5:34
6 Interlude 2:07
7 Zig
Written-By, Producer, Arranged By – Claude Young
10:28
8 Psybadek One 5:39
9 My World 7:26
10 Hiphoptrak 7:48
11 Another Interlude 2:19
12 Allegory & Metaphor (Revisited) 6:43

Companies, etc.

Credits

Notes

Recorded at Matrix:Detroit. Mastered at NSC.

(c) 2000 Unit-Solar / Matrix Recordings (p) 2000 inuit-Solar published by Computerworld-BMI and I Solar Music-BMI. A Never Records Group Experience distributed by Proper Sales + Distribution
Made in USA via Detroit.

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Incidental info:
Comes in a standard jewel case with a transparent tray and a 4 page booklet. The CD has an orange inner plastic hub with the artist name and the album name printed on it.

Barcode and Other Identifiers

  • Barcode (Printed): 6 00704 40442 7
  • Barcode (String): 600704404427
  • Matrix / Runout: ITU 1006 ✳✳01✳✳
  • Mastering SID Code: IFPI L794
  • Mould SID Code: IFPI 2D45

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Reviews Show All 7 Reviews

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player

player

September 23, 2018
edited about 1 month ago

As album this can become quiet a long listen as its pace and causal simplicity feel as if it drags rather then absorbs you into the albums music that only has a couple(+1) of tracks that actually lift the momentum, but do come late in the album.

Tracks 1-6 start and follow of warm slow to mid ranged smooth bassline rhythms, stripped down 4/4 kickdrums, then a gradual introduction of sequenced chords of minimal house-techno. Music is quiet minimal but has depth, though quiet limiting in a way! Not much happen in the first 6 tracks with no real catche or hook that take your attention away from the main core teach track starts and builds from. This makes the album a kind of boring listen due to its slow shifting pace, predictable minimal style, and even with its Detroit-ish downtempo techno synth moments don't help lift the music above its main repetitive simplistic feel. It just feels like an over stretched repetitive idea to make tracks longer without adding much lift or changes on tracks 1,2,3,4, and even the lengthy 10(+)min trk 7, making the album feel longer on the 1st half then it actually really is! Track 5 adds a nice downtempo acid-techno, sadly short, interlude but that's about it.

Track 8,9, 10 are the more interesting tracks that finally elevates the album to a far more enjoying deep listen. Tracks 8,9 submerge with a deeper substance of drum n bass and some, but nor overused, flowing soulful techno, with track 9 adding a more spacey synth detroit ambient feel with less use of drum n bass and techno yet works really well while adding a nice neon feel to the track. Track 10 goes back to its slower mellow pace, but this time with a more flowing soft, but more noticable, change in its patterns, while added with a nice ambient feel that delivers a deep and atmospheric listen that actually works with its simplicity. Track 11 is another short but sweet ending interlude that actually should have been made longer as it ends just as the momentum kicks in towards the end - unfortunately! Track 12 is a ending that brings back a slow midrange mood in a 'Revisited' listen of tracks 1-6 but a little more refined and a little more going on making it a decent, not great, ending track.

Not a bad album but just a bit to obvious, slow, and boring at times!
antonydaly

antonydaly

May 24, 2017
edited about 1 year ago
i wouldn't buy the music of someone who saw the murder of 22 people in manchester on 22.05.17, as a joke.
shadow187

shadow187

November 22, 2013
absolutely a great listen from beginning to end. As everyone else states horribly under appreciated. Glad to see so many comments. Sean you must re-issue this on 2LP!
patientot

patientot

March 24, 2010

Another under-appreciated Detroit gem here. Basically its sounds like early to mid 90s ambient techno filtered through the lens of Detroit. The beats are there, a little more prominent than I expected, but there are reduced, and the pace is slowed way down to the make them less obtrusive. The feel is very smooth, with gliding synths and sequencer patterns that make me think of things like Kraftwerk's Man Machine and Carl Craig's Landcruising. Very much a nighttime driving album. There are some stylistic change ups such as some hip hop beats and even a drum and bass track but it all fits together very cohesively. If there is one slight knock against this album that keeps me from giving it a full 5 star rating, it's that a couple tracks have synth melodies that are almost a little too repetitive or simplistic. Given how unique and enjoyable this album is in the framework of Detroit Techno, I'd still highly recommend it.

For whatever reason, this album didn't become very popular so now it's possible to buy it very cheaply. I think I paid about a dollar for mine on Amazon Marketplace.
hard-trance

hard-trance

June 2, 2009
Sometimes the beat isn't what hypnotizes us. Detroit techno has proven that over and over again, especially in recent years with albums from Urban Tribe and Detroit Escalator Company. The latest attempt to "wrest control" from the dancefloor comes from Sean Deason, who has composed an amazing album of slowed tempos and alternate constructions for techno.

Gliding into one another almost as if they were slivers of a mix-CD, the first two songs ("Creation" and "Phunk") move abstracted beats in and around chords, which set the stage for the rest of the album. The next cut is arguably the most impressive: the title track "Allegory & Metaphor." Deason captures one of those elusive mid-range moods that are at the core of Detroit techno--the song's wailing melodies juxtaposed against hip-hop beats and wandering pianos. The title itself even suggests that techno is an ultimate reflection of life's emotional spectrum.

The next cut is "2030 AD." With a title like that you know Deason has something momentous in mind: Is it a hymn to the famous techno landmark--or is he already looking forward to life as a sexagenarian? Or maybe there's both: this subtle track seems to be wistful and forward-thinking simultaneously.

Just about every cut continues or supports the album's ethereal themes, and the only possible "exception" is actually more of an extension: "Zig," featuring Claude Young. Approaching a kind of Detroit/London/Vienna edginess, a raw and elastic bassline is an immediate and contrasting clue that opens "Zig" up for more aggressive mixes. This version never quite achieves this, but you can hear echoes of an intense techno battery throughout (Perhaps there's a mixable twin? Can we expect "Zag" on a Claude Young album?).

One can easily trace Deason's artistic development on this release--especially when "Psybadek One" and "Hiphoptrak" are cued up. Besides having one of the coolest "Amen Break" cut-ups since the theme to Pi, the former starts connecting all of the different threads and approaches Deason has experimented with before on Razorback (!K7) and Eleven Phases (Sublime). Now he's coalesced them all into a distinctive sound, we should all keep an eye on Deason and the rest of Detroit's so-called "third wave." The coming months and year are sure to be theirs.
GENRE

GENRE

June 19, 2006
edited over 12 years ago

This is a very consistent album despite switching from techno , through to house, drum and bass and some early trance that reminded me of early Robert Leiner. The various themes are bonded together with a Detroit sensibility and space which must place this alongside some of the better detroit albums of the last 10 years. As above great listening and not to be overlooked.
zthrockm

zthrockm

August 26, 2004
edited over 14 years ago

Sean Deason's "Allegory & Metaphor" has to be one of the most overlooked & underrated albums to come out of Detroit. This CD is, from start to finish, a true work of art that appeals to aficionados of good music, not just techheads.

It's hard to describe the sonic breadth of "Allegory & Metaphor". Deason masterfully weaves diverse sounds, from drum n bass style percussion, to more Detroit Techno inspired soul, even with a hint of hip hop on a few of the tracks. The melodies never get cheesy, stale, or redundant, thanks to both a wide range of synthesizers and subtle effects processing (along the less is more line of thought). Deason takes a nod from producers as diverse as Carl Craig to William Orbit to LTJ Bukem, and the result is fantastic - and entirely original.

I've found this is an especially good driving CD; it hasn't left my car in well over a year (an accolade not many CDs receive). This is midtempo, listening electronic music at its finest!