May 2021 – Tobin Bradstreet is a music producer from The Netherlands. Currently based in the Leiden area, but originally from Rotterdam, the artist has recently released a brand new studio album titled “Incoming.” What’s special about Tobin’s productions is the fact that his music isn’t just focused on creating patterns with beats and go for an “all-out” groove assault as some producers do. While his sound still retains that big room energy, it also feels more nuanced and immersive, in the wake of artists such as Jon Hopkins and Hozho, only to mention a few.
The album features ten songs. With each track, Tobin made a point to explore something different, but at the same time, he also made sure that the songs are well-threaded together, each seamlessly flowing into the next track. The first song on this release, “Only One,” is a great introduction to the album. The track has a solid rhythmic backbone, inspired by old-school techno, but also with some deeper ambient sounds in the background. The following track, “The Storm,” has a busier arrangement, which kicks off with a rich synth arpeggio, climaxing into a gigantic beat that feels energetic and fast-paced. The following track, “10 Days” feels like the kind of track that I would love to have on while driving at night, no other car in sight, set towards the horizon. The track is one of my personal favorites, but there are so many other amazing tracks here, including “The Plan,” which has a slower, darker texture that feels a bit heavier, but more immersive. I love how this track breaks the mood of the album to give it a push towards a slightly different direction. From this point forward, it feels like the album is getting more diverse, as Tobin is exploring different influences. With “Message Received,” the artist welcomed some synth-wave influences, especially when it comes to the fat, retro-sounding synth arpeggiators, which drive the ebb & flow of this melody to perfection.
The sixth track on the album, “Salvation,” is a song that stands out due to its excellent dynamics. What I love about it is the fact that the song takes on a completely new identity from what you might expect from its first few seconds, and it serves as a one of the most eclectic tracks on this album. The seventh song, “Never Forget,” has a really cool dramatic tension to it, with the arpeggiated synth and deep bass locking in perfectly with the 16th note hi-hat pattern.
The title of the 8th track, “Transhumanism,” is a reference to the cool sci-fi twist of the sound of this track, which has a nice futuristic touch to it in terms of sound and arrangements. The ninth track is the title track of the album, and it also happens to be one of the best on the record, especially because it sort sets a stylistic benchmark to define this album by – not surprisingly, it’s the title track!
The final track is titled “Precipice,” and it stands out as a really good conclusion to an album that has got so much to offer. Although each song stands out on its own, what I really love about this record is that it really works well when all of the tracks are enjoyed from start to finish. It feels like Tobin really put in the work, not only to lend the songs a punchy, immersive sound, but also to work out a really fitting playlist for all the tracks to sit seamlessly on the album. I know that this is the streaming age and it is not a common occurrence that people still listen to full records from top to bottom, but I still really love the idea of listen to an album as a work of art and as a concept in itself – this record definitely delivers that!
Find out more about Tobin Bradstreet, and do not miss out on “Incoming,” which is currently available on all of the best digital streaming platforms.
We also had the chance to ask Tobin a few questions: keep reading for more!
– I love how your album features so many different ideas, yet the sound of this release is also very cohesive. Did you envision such a sonic variety, or did it simply happen following your creative flow?
I don’t think it is done on purpose…the set of tooling I use is specific for my audio set-up over the years and I have specific ‘go-to’ synths I use more than other but…truth to be told: many songs are in the end the product of many ‘happy accidents’ during very long nights. And I really do dig solid rolling bass lines myself. So that will always be a cohesive overall theme. And this will get 10 tracks more together in a final album mix.
– Do you have favorite tracks on the record, and if so, which one and why?
I do like the less uptempo ones much more. Like ’10 Days’ and ‘The Plan’. Didn’t think those downtempo ones would keep me interested over time but they do. And I have a soft spot for the last one ‘Precipice’. Unpolished and very energetic track. Really cool to listen, very loud, speeding on the highway.
– It might seem like “the” question that all artists are getting now, but how has the COVID-19 pandemic affected your creative process on this album?
Yes, it sure did. Lot of uncertainty and uneasy feelings were transformed into tracks. Think that is why this album is less uptempo and less ‘hurried’ as the first.
– Do you miss live music, or do you prefer to spend time in the studio anyway?
Live music did not play a significant role in my life. I am more of a studio producer anyway. I just love the late night musical escapes with the synths too much.
– In your opinion, what’s the most rewarding aspect of producing music in your style?
It gives me variation enough to move between these musical ‘borders’ from 115 to 128 beats per minute. At the same time keeps it enjoyable enough for a larger potential audience.
– Any plans for the near future?
Making music is a big reward in and of itself. Let’s just make another album.
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