The first great album of 2010 comes from none other than Northern California's own Limaçon. His debut, "Tarry Not," on Thoughtless Records pushes beyond the limits of minimal, techno and progressive into new realms of sound and rhythm. Limaçon is Christopher T. Lee, a native of Santa Cruz, and, since his debut release on Poker Flat in 2005, has been causing a buzz around the Bay with his live sets. In addition to Steve Bug's label, Limaçon has releases on Resopal Schallware, SF's Auralism Records, and the now-defunkt but still legendary label, Force Inc. But with "Tarry Not," his debut album, Limaçon spreads his sonic wings and takes off into fresh territory as an artist.

What sets this album apart in the minimal scene is the high regard Limaçon places on intricate yet expansive melodies. Instead of placing a few random hits on the upper octaves of the keyboard and calling it a melody, Limaçon's melodic tendencies embrace the full range of frequencies. "Label," one of the album's best tracks, begins as a bouncy tech-house number, then as the track progresses a playful melody appears on a backdrop of warm chord changes. Then the bass begins to expand and grow, a second bass line begins to roar along with the first one and the next thing you know, the track has mutated in a dance floor monster complete with an acid-house flourish.

This interplay of bass, mid- and high-range frequencies creates the rich texture that is the hallmark of this album. The other ingredient is the amazing sonic palette Limaçon dips his brush into when painting his sonic landscapes. Every sound is richly detailed and intricately arranged. On "Sans Rip," Limaçon draws from progressive house with a repetitive deep chord build, but instead of succumbing to the traps inherent to that genre, minimal techno sounds begin to build on the driving beat, morphing and growing into a compelling story.

Another example of Limaçon's ability to moderate all his influences is the track, "Nudge." Futuristic synths shred across a barren soundscape, but before the track becomes just another study in sound an intriguing bass line appears and reflective chords add musicality and depth, something most minimal tracks lack. Ultimately, this is Limaçon's greatest achievement with this album. He shows that you can make minimal techno that is both ground-breaking in its sonic composition yet accessible with its appreciation of melody and harmony. Limaçon has flipped the script on minimal and hopefully other producers will be listening - I certainly am.

reviewed by Jack O'Shaughnessy

For Limaçon's artist page, click here.