Dylan Fraser documents humanity’s downfall on his formidable third EP, 2030 Revolution
"2030 Revolution EP"
Having already proven his worth on two sonically swirling records to date, Dylan Fraser’s 2030 Revolution EP leans wistfully into his abrasive and exciting production style while focusing on a more concise thematic message; delivered across four fleeting but forceful tracks, this is the Scottish-born and London-based singer’s most potent release yet.
While he is in no way a novice at wrapping up thoughtful lyrical expression within a luxurious listening experience, Fraser has never before manifested this so succinctly. Whirring straight into depressing insights into the reality of city living in the current economic climate, lead single “Apartment Complex On The Eastside” might come across as a grim exercise in envisioning your own passing, but in fact delivers a motivational encouragement to rebel from defining ourselves by our productivity. Use your time wisely, he says in not so many words, but it’s a provocative sensibility that he clearly embodies.
Merging new heights of dynamic range into a singular track, and an addictive and thundering one at that, “It Took A Lot To Get To This” elegantly reflects on past feelings of entrapment before dramatically celebrating the hard-fought results of escaping this with a deep, rich and rhythmic chorus. This specific transition and blatant juxtaposition is one of Fraser’s most impressive and enthralling moments yet, even without the inspired catharsis granted by his slapping drum beats and rumbling basslines.
An upbeat sonic is introduced on “Vampire,” but an equally-haunting vocal presence is only enhanced by the guest appearance of Alaska Reid. Although its vulnerability risks being overwhelmed by an overdramatic instrumental, this third segment is a semi-relaxed and certainly expansive respite preluding the core and title track of Fraser’s third consecutive success to follow.
“2030 Revolution” itself is proven immediately relatable when its gentle tone facilitates a resigned admittance that we’re all “locked inside the big frustration game.” Going on to describe 2022’s state of affairs as “past the point of any kind of resolution,” this delicate and beautifully self-harmonised thematic centrepiece summarises the seething and self-consumed world Fraser is reluctant to acknowledge.
All astute observations delivered with a tenacity that continues to cement Dylan Fraser as a broadly creative musician still exploring his own capabilities, the four cuts on 2030 Revolution individually offer something to intrigue and excite; hopefully soon something more long-form can further uncage this considered voice and understated talent.
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