Hawnay Troof approaches music as a 're-sequencing of ideas' or a demolishing/re-making of the rules. Restoring art and sound to their primary and vital function: a connection into the natural world. Viewing everything from depression to euphoria with a sense of awe at the magnificence that lies within all of our daily lives. The latest Hawnay Troof LP, Islands Of Ayle, picks up where the last left off: a decorated teenage bedroom painted with the energy of a mad man on the run. After he won over so many blogs and crazed hundreds of crowds in different parts of the world strictly by word of mouth, who would expect any less from him in 2008? His music is magnetic. The life contained within brings art back to its primal importance of connecting with the observer. He is quickly becoming one of the underground's best-kept secrets.

For years, one-man maestro Vice Cooler (who technically is Hawnay Troof) had unintentionally remained lo-fi. Finding his way as any craftsman does, he created two albums worth of material. The records became a map of his artistic journey, one that has naturally led into maturity and positive progression. Islands Of Ayle stands as a notable turning point in Cooler’s career. As animated as it is sentimental it will undoubtedly be a welcomed evolution as well as a surprise to friends, enemies, and strangers alike.

Whether it is the potent, upfront vocals or the strenuous production throughout the LP’s 13 tracks, one thing remains unquestionable: his growing strength as a songwriter. His vocals offer more clarity, thought, and delivery. Listeners will find the lyrical confidence of The Streets or MIA tied up with the vulnerability and beauty of Kimya Dawson. The production is intricate and melodic opposed to the straight ahead beats of the past; not too far from Deerhoof's hooks having a handshake with Peaches beatbox. And the bass lines! The bass lines are a welcomed bonus as someone finally loaned Cooler a synthesizer! Islands Of Ayle is a force to be dealt with. It is pushing electronic dance music further down a trail that it has lately avoided: completely fucked pop music. During his 20-month world tour for his last album, Dollar And Deed, Vice Cooler utilized his travel to create an intricate library of samples. From vintage, oscillating melodies made in Berlin with Stereo Total's Bretzel Goring ("Front My Hope") to the chopped up countryside field recording on “Zhou Zhong” (where the spine of the song is based on field recordings of cows bells Cooler heard while he was traveling in the Swiss Alps), one thing remains constant: this stands as one of the most refreshing records of the decade. A captivatingly precise ear for sound that bonds with each listener.