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House of Woo echoes the Jazz epithet of sprawling, layered sound in many ways. The underlying constancy creating tension which you feel must break but rarely does, instead reverting back to its original form ('Ice Room Graffiti'). But there's another axis, or dimension to the Dunbar sound that doesn't merely work with layers, it works with time and rhythm. As prevalent as looped hooks, are the tendencies to stratify expectation and disassemble what has just been created. It's as if we are shown the elements individually first, and then experience the reaction before returning back to the rudimentary beginnings. It's a fascinating experience to float around with sounds and feel how they reverberate against each other; with magnified prominence at times, and blurred subtlety at others. Yet it also has the effect of isolating a sample which doesn't seem at all appropriate and then buffering it at different intensities until it forms a seamless compound. Fans following his previous Hip-Hop excerpts won't find too much familiar here, and even his minimalist exploits seem to expand beyond into another stratosphere. House of Woo is as much an experimental instrumental record told through Jazz inflected beat-making, as it is a house record. And what is exemplified is Dunbar's ambition to avoid, at all costs, a reinterpretation of something else. You feel his understated presence as a guardian of these organisms for which he is the medium.

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