In 2008 John Roberts was asked by Carsten Jost, Pantha Du Prince and Lawrence to be the first american artist on the influential german Dial Records imprint. His releases for Dial and sister label Laid have all received major accolades for their distinct and refined aesthetic. Roberts currently lives in Berlin and performs regularly in Europe's preeminent clubs. His first full-length album debuts a sound impeccably curated and delicately enigmatic!
The complex sounds of GLASS EIGHTS, the snag and pop of an old record looped into percussion, the eerie clanging of glass come from a subtle curation of samples drawn from overlooked second-hand dollar record bins, his mother's piano, Roberts' own instrumentation and musical genres born before the synthesizer was employed as an instrument itself. This disparate collection of material insists on the non-hierarchical nature of sound, proposing that a new auditory aesthetic comes from not only the way the album sound is collaged, but more specifically, Roberts' ability to hear his own soundâ€š if even for a spit second or two, in music often left contained in the press of its vinyl. This highly personal aesthetic harbors the intimacy of Roberts' sequencing process: working mostly at night on headphones in bed. Roberts uses a sequencing software (originally designed for the Amiga computer system in the early 1980s), virtually antiquated by the infinite possibilities of the day, to create a structure that delivers the contemporaneity of his sound. GLASS EIGHTS does not just generate a new auditory experience but builds an ornate frame through which to view the intricate psychological undertones in music of the past, and more importantly, constructs an anomaly that sounds a lot like the future.
GLASS EIGHTS was one the most exceptional electonic albums of 2010, rating top 5 albums on RA and top 15 on FACT. Who needs any more proof this young maestro is one of the most talented producers of his generation.