Toronto’s Egyptrixx has in a short period of time been able to stand apart from the herd in contemporary dance music, with a unique style of Techno, House, Dubstep and Leftfield Electronics. His debut album Bible Eyes is the first artist album from L-Vis 1990’s and Bok Bok’s collaborative London label Night Slugs. His melodic stew of music fits nicely with the cult imprint’s hybrid Garage sounds. The classically trained pianist is putting the spotlight on Toronto along with fellow citizens Azari & III and Art Department. His album was loosely written as a tribute to his great-grandmother – the only other musician in his family, who supported her ten children and disabled husband during the depression by playing organ at funerals.

The album begins with “Start from the Beginning,” a dark, moody and industrial track, like Burial without a beat, just gentle piano stabs and ambient sound waves on a beach in outer space. It serves as a nice entrée to the bouncy title track “Bible Eyes”, with psychedelic programming and a classic house beat. “Chrysalis Records” is a poppy and lush New Wave cut with distorted keys and vocals from Maya of the Canadian band Trust. As most should know, the now defunct Chrysalis Records label was at the forefront of the British New Romantic movement with bands such as Ultravox and Spandau Ballet, and new-wavers Blondie. “Liberation Front” follows, a slow building, haunting and minimal Techno track with an Old School 4/4 beat. “Naples” is a deep, calm and almost Balearic track, the synths and keys makes you think of Jean Michel Jarre on a beach rave in Ibiza. “Recital (A Version)” is a standout track on the album. It’s a huge, epic and slow building melodic Techno track with a simplistic voice sample, and a structure that keeps on shifting like a windy Trance track with deep bass. So far this could’ve been a near perfect dance album, but the last 3 songs are the party poopers of the crowd. “Fuji Cub” is a dreadish electronic Goth song, and the two last songs are dark and gloomy, but not atmospheric.

10 tracks make it a compact listen, and except for the ending, this will easily be one of the tightest electronic albums of 2011. It’s mostly instrumental, and he avoids the Hipster House sound. He merges genres and styles, and it’s impossible to resist his bass heavy and chest bursting productions.

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