In the context of electronic music, 12 years is damn near eternity, and though those who have lived it may not remember all the stops along the way, the ones who have kept on top of Scott Monteith’s Deadbeat music project will tell you he’s been no slouch. Through 6 critically acclaimed albums for Scape and Wagon Repair, as well as countless singles, remixes, compilation appearances, and last year’s Radio Rothko DJ mix, Monteith has explored the art of dub in a staggering array of contexts, and staked his claim as one of it’s strongest champions. And while the last few years have seen him concentrate on the more dance floor oriented side of things, his latest album and first release on his new BLKRTZ imprint sees Monteith returning to his roots in the headiest and heaviest of dub business. A concept album by any other name Drawn and Quartered sees Monteith wrestling with the idea of time and it’s illusions in a myriad of ways. Over 5 extended tracks, classic steppers rhythms act as the cesium beam clock for a undulating, ever changing sea of granular synthesis, field recordings, analog modular experiments and recorded instruments. First Quarter starts things off with a sea of black metal ambiance and over driven instrumentation set against floating granular clouds and a collected filed recording by Montrealer Cristobal Urbina, sounding very much like a successful summoning of the ghost of Bryn Jones, complete with one of the heaviest, lowest frequency bass drops in recent memory. Second Quarter is, in Monteith’s own words “ a homage to the recently deceased Scape label, and the wonderful sound world they created that was on the border of so many places and yet so amazingly very much its own dub laden, space echoed, unique place.” And like a rising Phoenix from those hollowed ashes, Montieth delivers a cut of slow burning spaciousness; sure to appeal to fans of a catalog he was so instrumental in building. Third Quarter (The Vampire of Mumbai) sees Monteith revisiting the rhythm from the B side of his acclaimed Vampire single for Echocord, adding live horns from fellow Berliner David Koch as well as live bass and conga, and extending the mix to infinitely vast cinematic proportions. BLKRTZ goes Black Ark in truly heavyweight style. Fourth Quarter (Cala’s House) lightens the mood with the requisite homage of any new musical father to his now one year old baby girl, an elated pastoral sea of warm chords, analog sequences and a deeper than deep house groove, sure to put a smile on many a punter’s face in the wee hours of the morning in the coming months. Finally, Plateau Quarter (Hope in Numbers) sees Monteith paying tribute to the city of Montreal which was so instrumental in his musical development and where he will be debuting his new performance with video artist Lillevan as part of this year’s Mutek festival. A musical journey of truly epic proportions, Drawn and Quartered once again shows Monteith to be one of modern dub’s true masters, and serves as a great sign of things to come from his new BLKRTZ imprint.