Jacob plays drums, John plays bass. Dor is drums and bass, not drum ‘n’ bass. But when their electronics are added to the equation, the combination produces real sparks. Even a short piece such as “brick” contains a certain mystery: tambourine echoes giving way to a fizzling drone while a bongo-styled rhythm sets the pace and the bass provides the anchor.
It may be difficult to tell which of the duo is the central character, as each participates in a significant way, but it’s easy to intuit that live performance – even recorded and processed – is more important here than electronic additions. Dor finds a place at the electronic table for two typically uninvited guests, and makes the regulars wonder why they weren’t on the list. With a little bit of imagination, one can picture some of the longer tracks as 12″s spinning in a techno club, adding verisimilitude to the speaker-bursting sonics.
Dor’s apparent influences bridge a gap between the two worlds. The pulses of “easter parade” sound like classic Depeche Mode / Front 242, while later tracks bring back memories of vintage Peter Hook. (Hook’s absence from the latest New Order collection was clearly felt; saddened fans may wish to turn here for comfort.) Each of those groups dealt with construction as well as pattern, which is what makes Dor’s foray effective; it’s not simply a matter of combining the organic and the electronic, but doing so with style. It’s almost unfair to suggest remixes, as this implies a missing element; in this case, the suggestion stems from the desire to hear more: more of the electronics on “easter parade”, more of the bass on “white tie”, more of the percussion on “listening post”. Each has the potential to break through in a big way. Three hit singles on a debut album? It’s entirely possible. It may seem strange to say that electronic music can benefit from more non-electronic elements. But if Dor holds fast to its key ingredients – drums and bass – critical acclaim may be joined by mainstream success. (Richard Allen)