Loveskills: Multiplicity

A fusion of synth, bass, and subtle vocals make up the signature sound of Loveskills, otherwise known as Richard Spitzer. He is the one-man, hip-hop-influenced, post-dubstep talent behind Multiplicity. Track one is “Cover Me,” a cut with an intro that sonically mirrors an ‘80s dance song. Synth dominates this one, with high-pitched male vocals over the muted beats and electronic components. The number does not have the dubstep qualities that the latter songs on this album contain, but it is definitely something that if heard by a fitting crowd, would resonate.

Multiplicity is the soloist’s EP, scheduled for release in early 2013. “Flash In The Dark” is another track that goes lighter on the bass. This one comes across as a bit more ambient and sort of falls into the background of things even if you’re listening through earphones. It is repetitive with faint vocals and has a fabricated clapping element that keeps time with the beat. Perhaps background music is along the lines of what Loveskills is attempting here and if he is, well then in the first two numbers, success has been achieved.

“Ex Files” is the third song, a deviation from the others, and is a completely low-pitched cut. Lyrically, it is actually quite poetic and this artist’s words are accented by wide basslines. There is a programmed chorus that allows this style to officially fall under the category of dubstep, with an over-the-top, booming arrangement from a synthesizer. An auto-tuned rap cuts in after the breakdown, only for the number to come full circle and back to its rich, baritone form. The final two songs return to the format of laid-back ambience before Multiplicity comes to a close. Loveskills has an interesting interpretation of what the face of dubstep should look like. This artist has specifically forged his own path.

In A Word: Imaginative