So if you’ve been frequenting this site over the course of its history, you’ve likely come across a handful of posts featuring New York-based, JOVM mainstays and electronic music duo Beacon. Comprised of Thomas Mullarney III (vocals) and Jacob Gusset (production), the duo have received attention across the blogosphere for a sound that draws from R&B, house music and electro pop as Mullarney’s aching and yearning falsetto vocals are paired with generally spacious, minimalist productions consisting of chilly, arpeggio synths and wobbling low end.
Last year’s sophomore effort Escapements thematically was about time and the baggage it both creates and brings, and unsurprisingly, the album’s title was inspired by clock mechanics; in fact, escapements are timekeeping regulators specifically designed to transfer the kinetic energy of the clock’s parts at a constant and regular pace. As Mullarney explained in press notes at the time, “I was attracted to this concept because of the entropy it implies. Friction and changes in amplitude over time mean[s] every escapement, no matter how well crafted, will lose its accuracy and effectively slow down time via its own decay.”
Featuring drumming from Tycho‘s Rory O’Connor, the material on Escapements was written, revised, refined and recorded over the course of about nine months at Beacon’s Brooklyn-based home studio and Gary’s Electric and the album revealed that the duo restlessly experimented with their songwriting and production approaches, following wherever their muses and instincts took them, including trying out new studio techniques and recording techniques. And occasionally, they tried things on the fly, which meant that the recordings captured much more of the free-flowing feel and energy of the creative process — while at points being subtly cinematic.
On the heels of a Coachella appearance with Tycho, Mullarney and Gusset released their first single of 2017, “Marion.” At the core of the song is a hammered dulcimer, a percussive, stringed instrument in which the musician strikes the strings with small, hand-held hammers — coincidentally, the hammered dulcimer is an ancestor of the modern piano that sounds a bit like cross between a harp and a piano. The chiming, hammered dulcimer sample ebbs and flows, and occasionally recedes for Mullarney’s achingly tender falsetto vocals to float over the production, which also features stuttering boom-bap beats. And while being subtly warmer than some of their previously released material, their latest single will further cement the duo’s reputation for crafting minimalist yet pulling material that possesses a wistful and yearning ache.