If the name does not ring bells, perhaps his often funk basslines and glossy finish over hip-hop instrumentation will. C. Scott is in his own right, an adaptable artist that combines modern techniques with classic soul. Every instrumental on his official debut record, Phase Shifting is similar to a handshake of authenticity. Whether showing vocalization behind the whimsical opening track “Venus,” or the lyrical output from Hubbs, everything is in perfect snap balance.
Phase Shifting is less about standing in the center of the room with all sets of eyes focused but is instead the background hands that control the figures on the wall. The glitz and gleam of summertime pass within Phase Shifting, but remains an untapped source of beauty. “No Cap” is a track that resembles this summer night as the excitement begins to die down and is instead replaced by the city’s glow in the distance. The trees and nature begin to surround the listener with these flute stems that reach out and encase the audience with warmth instead of harm. Almost every appearance of C. Scott warrants a genuine smile, whether seeing him hit the clubs of Pittsburgh or hearing records that continue to surge with creativity.
C. Scott still holds elements of house music, which seem to be just as impactful as his love for hip-hop and beat making. The versatility is vital to highlight as “Mixed Threads” marches down the Soul Train-esque dance line with claps and this crunching synthesizer that pushes the groove along. Almost every moment spent in Phase Shifting relates to the shifting modes of genre and tone throughout the record. There is one consistent theme that appears that tightropes between energized and relaxed, a theme of history behind the sound.
No matter where or when Phase Shifting is heard C. Scott invokes this gentle touch that develops a reinvigoration within styles of music. He can adapt to fit the frantic 808s or lay deep underneath the smoky basslines in Spirit Longue. In any situation, C. Scott is an explorative artist that never relies on a visual but instead paints Pittsburgh through instrumentals rather than brushes.