Baauer’s debut full-length album Aa (pronounced “double A”) marks a new era for the producer best known for his track “Harlem Shake,” which turned into a viral meme phenomenon on YouTube in 2013. Subsequent releases proved that YouTube commenters and the media hadn’t given him enough credit for his inventively rambunctious musical style. Songs like “Raspberry” and “Dum Dum” showcased his ability to transform kooky vocal cuts into the rowdiest bangers.
At 13 tracks and a mere 33 minutes, though, Aa already only scratches the surface of musical and emotional depth. “Church” and “Church Reprise” are cinematically pretty, M83-esque interludes. But while the washed-out guitar solo in “Church Reprise” is charming, one would expect to hear something more epic from a collaboration with Rustie, the Scottish producer known for his high-energy trap production. The central force of “Good & Bad,” another intermission barely lasting a minute, is a dark and droning bass that feels monumental but is too reminiscent of Flume.
Aa shines the most in its higher tempo tracks, but these aren't without their weak points. “Sow” is classic Baauer, layered with his signature vocal chops and wonky beats. There’s still no clear drop though – no destination that makes the clubbers rejoice. While the R&B, UK garage-influenced “Way From Me” is mysterious and almost romantic, its vocals lack melodic variation. “Aa,” the titular track, has unexpected screamo samples that feel luridly cool but make the track too compressed. The trembling bass line and anticipation-building hook of "GoGo!" are what win the mark in Aa.
Growing up in Germany, London and the US, Baauer shows off his taste for unconventional sounds and underground talent spanning the globe. “Day Ones” features English rapper Novelist, “Temple” showcases South Korean rapper G-DRAGON, and “Make It Bang” introduces Baltimore-based singer TT The Artist. The selection is eclectic and flavorful. But as a result, Aa feels scattered.
Baauer experiments with different avenues of electronic music in Aa. This makes it worth a listen, especially for American listeners who want an easy introduction to foreign dance sounds. But the standout tracks are the faster, hip-hop-influenced “GoGo!,” “Temple” and “Kung Fu,” which features higher-profile rappers Pusha T and Future. In this way, it’s clear that Baauer is best at creating amped-up club anthems with massive drops. Aa has allowed Baauer to expand his musical catalog. He should continue digging deeper into that hyperactive realm.