Underexposed Albums #7: Dream 2 Science – Dream 2 Science

dream2science

Last.fm listeners as of 23rd November 2016: 734

 My Love Turns To Liquid (5:24)
Breathe Deep (5:35)
Mystery Of Love (5:17)
How Do I Love Thee (7:44)
Liquid (4:48)
Dream 2 Science (4:38)

Dream 2 Science is house music for the home. It’s music made in the bedroom, for the bedroom.

The mini-album’s creator is Ben Cenac, aka Cozmo D, formerly the brains behind the electro group Newcleus. A self-confessed free spirit of the house scene, in the late 1980s he recorded the song ‘My Love Turns To Liquid’ as an excuse to show off his wife Yvette’s previously neglected vocal stylings and, with the encouragement and collaboration of his friend Gregg Fore, he extended the theme into a full EP called Dream 2 Science.

Immediately obvious is the closeness out of which the project was created, as ’My Love Turns To Liquid’ is, in effect, a love letter from Cenac to his spouse, and it flows gently like drifts in and out of sleep with a bed-partner. All the necessary deep house boxes are ticked – unobtrusive, open chords, expansive stereo width, a bubbling bass line – but ‘Liquid’ has an unusually dominant vocal, more like R & B in fact, which takes it even further into soulfulness. Cenac had previous with this, as one of his first forays into making house music was with ‘I’m In Love’ for Sha’Lor, which span out of unsuccessful attempts to sell that group as an R & B outfit.

Anyone taken to a higher place by the enigmatic opening chords of Fingers Inc’s ‘Can You Feel It’ will find much to enjoy here. Though they have similarities, including sharing ‘Mystery Of Love’ as a song title, the live vocals distinguish the Dream 2 Science project from Larry Heard, with whom Cenac is frequently compared. Following ‘My Love Turns To Liquid’, ‘Breathe Deep’ has an opening which, with the right amount of overdrive, could have turned into an all-out banger. But it’s a tease, felt-covered, as with the album as a whole, the track is a push-pull of aggressive and laidback elements, all within a safe space of trust between two people.

Cenac commented in an interview with Test Pressing that his way of composing is to find a solid enough bass line, and build it outwards from there. In Cenac’s ‘Mystery Of Love’, the bass and melody lines are near mirror images of each other, just one of many instances on the EP where two musical elements have an intimate relationship. Even the album’s packaging works that way – the sides of the record are listed as ‘this side’ and ‘that side’, rather than ‘side A’ and ‘side B’.

‘That side’ kicks off with ‘Liquid’, a remix of the opening track which shows Cenac open his toolbox to show off the more spacey effects he employed with his earlier electrofuturist projects. ‘How Do I Love Thee’ has that give-and-take of aggressive and sensitive again but less successfully, as the song doesn’t really forge a clear identity for itself in its 8 minute running time. The closing track is called ‘Dream 2 Science’ as well (creating one of those fabled instances where the name of a song, artist and album are all the same), a title Cenac says was his estimate of the ratio involved in producing the album – 2 parts dream to 1 part science. And within that, there is the crux of deep house – using posthuman technology to create otherworldly experiences. The EP departs with the sound of Cenac playing jazzy solos with different keyboard timbres, a nuanced addition to a genre whose use of piano can tend to fall back on stabbed chords and riffs.

When listening to Dream 2 Science, it seems incredible to think that, while it influenced house luminaries like King Britt and Josh Wink, its limited pressing meant it that it slipped under the radar. Buying a copy online would cost you upwards of thirty pounds, until it was rereleased in 2012 by the Dutch imprint Rush Hour recordings. And none of this was the intention: Gregg Fore, Cenac’s collaborator, was badly burned when his distributors in Chicago and Los Angeles tanked. Dream 2 Science never had the wider release it deserved, and Cenac and Fore took an early retirement from the music industry off the back of it. In this age of renewed fetishism for physical media, it’s important to remember just how vexatious the vagaries of its production can be, and how prohibitive it can make accessing someone’s work.