I have been on the Pedro bandwagon for a good number of years now. Stumbling upon the U.K. producer’s self-titled release back in 2004, the album fit quite snuggly with my then folksy-electronica obsessed radio playlists and beat konducted mind. With almost ten years of production experience on his résumé, James Rutledge concocts refined musical explorations and oddball stylistic balances. His minimalistic laptop manipulations rely on as much acoustic instrumentation as they do electronic samples and make hefty stylistic nods towards rap, folk, jazz and post-rock. Then why am I not going apeshit over his latest release, You, Me & Everyone, despite it being maybe the most realized and adventurous album in his discography? Good question.??Like the clever producer circuit he is typically grouped within, notably Four Tet, Prefuse 73, and Caribou among others, Rutledge has a talent for finding extended samples of jazz and psychedelia (or of course playing the instruments himself) and weaving them into fits of bursting excitement. His music, though often chaotic on the surface, is programmed with immaculate detail and a caring concern for obtuse rhythms and instrumental motifs. Each song bends and twists into any number of directions, but there is almost always a reference point, whether it be a playful keyboard riff, a specific drum sound or something similar. This gives the track a specific character within the overarching theme of the record. Where his prior albums were made up of more melancholy roles though, You, Me & Everyone sounds like Rutledge is scripting a triumph or some other sort of exuberant statement.??Pedro shines the most when his sample-based, multi-layered rhythms are joined by lyrical instrumentation. “Green Apples” and “Red Apples” for example have their fair share of curious rhythmic patterns and electronic interjections, but it’s the moaning saxophone, fluttering flutes and commanding trumpet lines that really move the song. These instruments make frequent appearances throughout the album as well: they ground the time signature destroying “I Am Keeping Up” just as it’s getting out of control… again, provide strong emotional resonance to “Spools” (which also includes strings and electric guitar to much avail), and act as a much needed break from the pulsing, near-club friendly “Vitamins”.??Rutledge takes advantage of a strong synth and breakbeat presence throughout the album as well. “Hope is a Happiness” with its relatively simple break sounds like Dilla remixing Rounds-era Four Tet, while “Hallelujah” transforms heavily effected electric guitar and xylophone into an indie-hop friendly backing track. These more straight-beat leaning tracks are very reminiscent of the Kieran Hebden remixes for Madvillain, minus the Doom of course.??This brings me back to my original question: why am I not gushing over this release? The album closely resembles two other albums by similar artists, Four Tet’s Everything Ecstatic and Caribou’s The Milk of Human Kindness. Like Pedro, both producers began their careers by exploring the more minimal and patient approach to sample-based music. As each career blossomed though, their output became increasingly exuberant and joyous almost to an annoying degree. This is obviously personal preference, but I believe it is also a telling characteristic of the album if you are already invested in Rutledge’s back-catalogue. You, Me & Everyone excels on every level from musicianship to excitement, but if you are expecting the contemplative folktronica that began his career, you may be a bit disappointed. I would strongly suggest checking it out regardless. Very few artists can balance this many opposing styles and still keep the near tangible excitement like Pedro. - Audiversity