What does Felix Dreiser sound like?

Bubbling ripples of soft electronica, dressed in a dangerous undercurrent of guitar effects.

The review of ‘Cover Your Tracks’ by Felix Dreiser

The debut EP from producer and guitarist Felix Dreiser has a distinct sound and feel to it. Everything has a seductive, dangerous sheen to it. From the warbling keyboards to the post-rock guitar whine that dresses most of the tracks to the ambiguous chord progressions – it could score a thriller or mystery movie. It is a pulsating and riveting release that plays with staying under the radar whilst sounding like a rising urgency and internal panic are settling in.

Most of the songs on the EP play with keyboard synths that sound like they’ve been sampled from a European club two doors down and fluffed up into a marshmallow frizz. The synths bubble, gurgle, stutter and ripple in rhythmic pulses and then are dressed with various guitar effects. The title track does this like a modern-classical take on fluffy electronica. It is incredibly hypnotic and reminds me of Moderna Records’ stablemate Jeroen Dirrix. Felix is more melodic and rhythmic whereas Jeroen is more soundscape-driven but the tones and mood are quite similar.

This paves the way for ‘Outrun’, a darker, moodier piece. Lunis Alberg guest performs on the piano as a pulsating electric piano and distant guitar tones float around the low-key beats. It is cinematic in a back alley revelation kind of way, with the thick low end of all the instruments shining through. ‘Habit’ then takes distorted synths that sound like they’ve been filtered through guitar amps and performs an experimental tone piece with it. The sounds trip, trickle, fall and then build to a numbing burn. The entire song sounds like it’s turning to ash.

The culmination of this ark is ‘When Did We Start Falling’. It takes pieces of everything that’s come before and builds the sounds into a pulsating downtempo anthem. I’m reminded of early Adam Fielding as various layers of synths interweave to create something that feels soft yet focused and driven. This allows the closing track ‘Laut’ to close out the EP like a shadow haunting. It takes a repetitive, stuttering hook and transitions it from an echoing piano to a more shapeshifting synth. It doesn’t quite glitch out, but the same hook sounds far more sinister and haunted than numbing and slightly comforting when it started on piano.

Throughout the whole EP, Felix Dreiser plays with melodies and tones that sound ambiguous. By that I mean the chords might be mildly uplifting but there will be a bass line or guitar wail that contradicts the main thrust of the song. It is my main takeaway and whilst this is a fresh release, Felix Dreiser’s musical toying with my mind has kept me returning back to this short, snappy but full-bodied release. When I listen to songs, I find that I tap into different emotions depending on my mood. I might identify with the stronger melodies or the more melancholy or dangerous underbelly and I appreciate Felix giving me layers to unpack and attune to. Anyone who likes downtempo ambient electronic music that could score a cerebral thriller movie – give this EP a go.

Recommended track: Outrun

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