Seattle based “Lusine” (known formally as Jeff McIlwain) is a producer who steadily punches out release after release. Each one is admirable and a joy to listen to. “The Waiting Room” is no different. That eclectic yet laid back feel is present throughout the entire album, with tempo between tracks ranging between something to drive to, dance to, and fall asleep to. I really like albums that can cover a ton of bases without being all over the place, and this fits the bill like nothing else I have heard for a long time.
There is a certain spring-time vibe as well, yearning for that Pacific North West summer warmth that teases behind clouds, wind, and, at least at taking a break from writing this review to look out the window, hail. Indeed, the electric haziness that is typical to Lusine’s sound is something that blankets the listener in such a great way that a sun would appearing behind a cloud. Very metaphoric I know, but, it does make the point.
Styles range from minimal (“First Call”), shoe gaze (“By This Sound”), Deep House (“Lucky”), IDM (“Another Tomorrow”), 80s vibe (“Stratus”) to a brilliant four on the four house-like album-closer (“February.”)
The vocals are by his wife, and her assertive yet smooth voice fits that blurry, yet crisp sound that Lusine’s production bases himself off of very very well. (Especially well on “Get The Message.”) I especially like the streamlined crisp overall vibe one gets from most of the tracks, but the lurching, messy styles are just as great.
To sum it up, this album encompasses balance quite well, with no one influence, style, vibe, technique, or anything like that drowning out the other. It is a superbly produced album that must have taken a lot of time to create, because the complexity (and coinciding simplify…see that balance thing again) surely required much skill, time, and patience.
Patience, however, is something that the listener will not need to become absolutely hooked to every track on “The Waiting Game.”