Low Air is a journey that bounds between the traditions of electronic dance music and jazz, offering a unique texture to listeners.
Released Oct. 24, it is the first solo production from the Baltimore, Maryland–based Jeremy Hyman, whose résumé as a percussionist includes the groups Animal Collective, Avey Tare, Boredoms, Dan Deacon, and Lifted.
For this project, Hyman combined his expertise behind the drum kit with the magic and flexibility of computer-based synthesis. Released physically on vinyl and distributed by Rubadub, the album is available for download and physical purchase.
The project marks a unique moment in Hyman’s career, but, most interestingly, it serves as a glimpse into the composition process and offers insight into the mind of a musician tied to so many successful projects.
In a unique opportunity, Low Air answers the question “What if…” and does so in a satisfying manner.
“Dada Kit,” the opening track of the album, is a journey through light and airy synthesizers led by a driving jazz-style percussion session. It is a direct representation of Hyman’s work as a drummer.
It marks a strong start to the album and an indication of what is to come for the first-time listener.
“The record is collected from home studio sessions, taken on the road, and sequenced through reflections of the live experience,” Hyman stated on his Instagram account. “Low Air moves into a broader compositional arena: pared-down rhythms guide a wash of understated harmony, and compositions surface from a stream of purling noise.”
“Infrared” offers a low-key pairing to the opening song in which another flavor of synthetic energy makes way for moments of jazz-influenced chords.
“Low Air” continues to slow the tempo before enthralling the listener in arpeggios and accents from Hyman’s drum kit. It is grounded by a base of sweeping chords that make way for another texture that heavily resembles the sound of wind, leading the listener into the album’s next composition.
“Outlines” begins with a vintage-inspired synthesizer sound that evokes images of the cyberpunk worlds found in films like Blade Runner and Total Recall. The piece leans on this element singularly, making it one of the album’s more straightforward compositions.
Then begins “Clear Chords,” a return to the album’s rhythmic center. This guiding element is balanced and intertwined with other instrumentation, giving the composition a particularly organic quality.
The song’s length—surpassing six minutes—and its emphasis on rhythm make it the album’s most dance-focused composition.
“Lifetime” is another texture-focused piece, but one that is also centered on a clear, driving rhythm. It offers a bright and light sound when contrasted with the other pieces on the album.
“Rainy Midi” slips under the needle as it settles back into a more low-key pace. This transition from the forward-leaning pulse of the previous tracks gives both the listener and the artist room to breathe as a series of textures, tones, and effects envelop the work. These elements gradually build as the piece comes to a close.
“There were no standard operations across the music, but one key to the sound is the doubling and tripling of playback speed to fit musical passages into old sampling equipment,” Hyman stated. “This process opened up a new line of inquiry into fidelity and pitch that can be heard throughout the LP.”
The album ends with “Delivery,” another piece that is focused on a rich, synthetic soundscape. This strong base is decorated with sweeping arpeggios that carry the listener to the album’s conclusion on a cloud.
In short, Low Air offers a sonic treat. It is an experience that provides insight into the mind of an outstanding musician—and one that is bound to offer more and more if the listener chooses to hit play again.
