There’s not a lot of tracks out there that even remotely sound like what Aronieme’s putting down on “Hallow”, her latest release. Matter of fact, the title alone is largely suggestive of that fact, even before one puts an ear to the tune itself.

When was the last time you heard a record without a snare? Aronieme, who’s credited with producing and performing on the single, manages to go more than halfway before dropping one, although she teases and taunts her way through the majority of the affair with pregnant, thought-provoking kicks—alluding to a rhythm more than riding one, which is typically the case with modern pop efforts.

But that’s more than likely the point. This track is far from a pop number, although it has more than its share of danceable moments. Attribute that to the sordid, opaque-sounding bass line, which throbs in the vein of the best of dub step efforts from the days of yore. Other idiosyncrasies include synths moving as rapidly, and fervently, as any high hat, and providing the percussion while doing so during about the last third of the number.

But back to the titular theme, which arrives well in advance of next month’s ‘celebration’ to that word, and all it presents for thirsty revelers. The record’s sacrosanct appeal is found most eminently within the singer songwriter’s vocals, which are bestrewed with a clarity, (practically a pureness, in fact) that’s either counterpointed or enhanced by the copious amount of effects dripping from her vocals. “Speak to the hallow”, Aronieme adjures the audience. “Don’t fear the echo.”

Sage advice, that is, particularly on a track that broods as much as it clambers for understanding, especially during the grand finale when the rhythm is unveiled in full and the artist shows her hand. No, there aren’t very many cuts that sound like, or even remind one of, something like what’s on display in this effort.

That’s as much a credit to the artist as it is to the song itself, and what appears to be a bold step forward for the progress of post-modern music.