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2LP
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BKEDITDS 037LP
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Dreams are made and displaced on Mark Fell & Rian Treanor's oneiric electro-acoustic inception Last Exit, borne from long days in the family garden, and assembled into a mesmerizing masterpiece of minimalist modal rhythm and atmospheric exploration, into rapt smallsound detailing in breathtaking form. It's a bit like listening to Virginia Astley's From Gardens Where We Feel Secure, with washes of Autechre seeping into the mix from outside. Last Exit originally appeared in a different form as a cassette release for Boomkat's Documenting Sound series in 2021, and was edited this year by Mark and Rian for this new expanded and altered edition, mastered by Rashad Becker. Across four parts, they kern, juxtapose and diffract synthesized percussion and field recordings into polymetric arrangements riddled with timbral nuance of a highly unpredictable nature. While patently inflected with nods to Indonesian gamelan, Ugandan folk, Indian Carnatic classical, Morton Feldman-esque minimalism, free jazz improvisation and a sort of rhythmic cubism that speaks to their mutual, voracious listening habits and tastes, the results are arguably without direct compare. Attentive listeners will recognize, however, that Last Exit effortlessly transcends their respective styles, achieving a new high watermark of imaginary future-hyperfolk expressed in a sort of personalized but highly relatable meta-musical language. The 80 minutes in between feel like returning to a dream, with flashes of FM strings dabbed to sloshing rhythms and domestic detritus, tilting into a nervously tentative tension ruptured with abstract dance dynamism and angular free jazz ballistics. A longform isolationist fantasy, consider it crucial listening if you are into Robert Ashley's Automatic Writing, Graham Lambkin, Autechre or Nuno Canavarro.
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LP
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BKEDIT 022LP
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Laila Sakini and Lucy Van's highly sought after 2017 EP Figures resurfaces on a newly expanded and remastered edition, deploying taut poetry and precise production for an alchemical suite of slowly encroaching trip hop x dub-pop pulses -- highly recommended if you're into CS + Kreme, Laurie Anderson, Leslie Winer, YL Hooi, Bullion, Jonnine, Kallista Kult. Long before releasing her slow-burn classic Vivienne and 2021's compelling Princess Diana of Wales album (ACOLOUR 038LP), Laila Sakini was at work with acclaimed poet Lucy Van for an impromptu session for a local noise and spoken word night in Naarm, Australia. Those initial ideas marinated and eventually resulted in Figures -- an EP that offsets Sakini's minimal production against Van's text, spoken in a carefully enunciated dialect lifted and wrapped around Sakini's nocturnes. It's the sort of thing that is reminiscent of Tin Man & Rashad Becker's Wasteland sessions, fused with the spirit of the contemporary Naarm/Melbourne scene. For all those references, Sakini and Van's songs are displaced from the contemporary wellspring too. The dusky blue waltz of opener "Those Who See" comes off like a lighter Leslie Winer or melodic, early AFX, as Van dryly intones "...all my enemies in an orgy, of IQ to body ratio," while "Deep End" sees them nudge into more claustrophobic introspection, before shoring up a dank sort of trip hop sleaze with the title song, slithering with a similar energy to early '90s Autechre as the narration echoes into a blur. The three previously unreleased songs flesh out the release into the full album it always should have been, cut of equally rare, hand-spun fabric. With its post-Sleng Teng B-line and noctilucent chords, "What You Need" feels like an Eski rhythmic bump accompanied by sub-aquatic synth bass, and the opalescent, gumtree-shaking shimmer "Rough Desires" secretes its intimations with an absorbingly hypnagogic slow-burn that pools into the perfect curtain closer; "Trees Make Me High". For those that care for cultural artefacts and biographical turning points, this record is worth the wait. The good stuff always rises to the surface. Remastered by Rashad Becker. Clear vinyl; edition of 500.
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LP
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BKEDIT 019LP
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The mighty HTRK follow-up their recent Venus in Leo album with Over The Rainbow, their debut soundtrack for Jeremy Piexoto's 2019 Scientology documentary. A rare and unexpected all-instrumental showreel by the shoegaze pop duo, their suite of original music is testament to a haunting soul that's long lurked under the hood of their singular, hugely evocative sound. Effectively a sort of dream come true for HTRK's legion disciples, the soundtrack strips away their signature vocals and drum machines in a commission to fit the mood of Piexoto's feature -- a film that seeks to better understand Scientology through a range of perspectives, from psychologists to former members. HTRK use their considerable knack for conjuring haunting, heavy-lidded feels and ohrwurm hooks to map the mood, deploying a trademark, incisive sense of detachment that colors the film's intersection of real beliefs and ideas of Scientology as a sect. In the absence of Jonnine Standish's vocals and Nigel Yang's 808 boom, HTRK's musick is pared to its essence of synths, guitars and electronics and painted in hazy, illusive strokes from a palette of smudged pastels mutual to both South California and the band's native Australia. The result is a 13 part mosaic tiling hazy blue cues with aqueous ambient pads and baroque themes, playing out like the atmospheric strokes to LA noir in a way that silhouettes the film's probing narrative and rhetoric and also reflects its fascination with American culture and the supernatural in a similar way to Eno's ambient classics or Lynch flicks and their scores. Ultimately Over The Rainbow is an instant play-it-again entry to HTRK's catalog, one that supplies a sort of crystal ball window onto their practice and most subtly illuminates the duo's masterful control of tonal sensitivity and floating, chamber-like composition. RIYL: classic ambient music from the likes of Pinkcourtesyphone, Gigi Masin, AFX, Eno. Mastered and cut by Rashad Becker at Dubplate & Mastering, Berlin. Sleeve printed on matt laminate card stock; Edition of 500.
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2LP
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BKEDIT 018LP
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Many years in the works, CXVI is Akira Rabelais's supernatural album of collaborations, featuring the singular composer in rapt dialogue with a wish list of peers including Harold Budd, Ben Frost, Karen Vogt (Heligoland), Geir Jenssen (Biosphere), Kassel Jaeger (François Bonnet), and Stephan Mathieu. Unfurling a quietly breathtaking, dreamlike sequence of events, CXVI blooms in the wake of Boomkat Editions' first-time vinyl pressings of Akira's seminal classics, 2001's Eisoptrophobia (BKEDIT 017LP) and 2004's Spellewauerynsherde (BKEDIT 015LP), introduced his rarified work to myriad, keen new ears, while also reminding longer terms fans of his nonpareil genius and alchemical style of composition. Set to be received as Akira's magnum opus, CXVI finds the Hollywood-based composer challenging his usual working methods, pushing himself to refresh binds with long-term collaborators, and also coaxing the recorded debuts of his friend Mélanie Skribiane and filmmaker/photographer Bogdan D. Smith. The result of their time-lapsed endeavors is a record of divine subtlety and poignant patience, rendered with a mirage-like appeal. Opener "Which Alters When It Alteration Finds", beautifully segues from a prickly bouquet of keys and lovebite-distortion penned with Ben Frost to a reverberant, spine-freezing piano coda from Harold Budd, before "Which Alters When It Alteration Finds" smoke-ily gives way to the sylvan shadow play of the album's masterful centerpiece, "Star To Every Wandring Worth's Unknown", where Mélanie Skribiane reads from Max Ernst's La Femme 100 Têtes against an exquisite veil of strings and keys realized by Akira with the GRM's Kassel Jaeger. The third part of the album only becomes more sparse and isolationist, as Karen Vogt's plainsong gives way to the tremulous, icy timbres of Akira's processed guitar strokes, originally written for Cedrick Corliolis's Tokyo Platform soundtrack, before the final side of "If Error And Upon Me Proved" finds Akira pushing Geir Jenssen's synths into the red, emphasizing a romantic soreness that turns into crushing noise, before Bogdan Smith's whispered vocal melts into an ancient, arcane air inscribed to 78rpm vinyl by Stephan Mathieu and then sweetened, re-incorporated by Akira as the album's stunning closing passage. Riddled with bedeviling detail and utterly timeless in its scope, CXVI is a disorientating opus you'll want to undergo over and again. Photography by Bogdan D. Smith Mastered by Stephan Mathieu; Cut at Dubplates & Mastering. Gatefold sleeve.
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2LP
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BKEDIT 017LP
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Boomkat Editions presents a first vinyl edition of Akira Rabelais' sophomore album, Eisoptrophobia, a spellbinding, uniquely decayed rendering of solo piano pieces by Erik Satie and Bela Bartók. The 2001 release forms a poetic farewell to the 20th century and a bittersweet embrace of new technological possibility. It's required listening for lovers of The Caretaker's haunted ballroom elegies, Stephan Mathieu's electro-acoustic microphony, or indeed the original, classical pieces. First released in 2001 on CD by Ritornell, a sub-label of Mille Plateaux, Eisoptrophobia is an early iteration of Akira applying his Argeïphontes Lyre software to classical music, and opening a fascinating schism between the original object and his modern, subjective perspective in the process. This process would also generate rarified and haunting results on Akira's Spellewauerynsherde (BKEDIT 015LP, 2017). The original piano recordings of Satie and Bartók pieces were made at Wave Equation Studios in Hollywood, California, and subsequently transformed with Argeïphontes Lyre, Adobe After Effects, SoundHack, Peak, and Pro Tools with beautifully elusive results. The recognizable melodies here ring out in myriad new ways, sometimes fractured and indented by patinas of crackle that echo the original contours, while, at other times, they're smudged into mind-bending obfuscation or spectral, timbral things. They have the uncanny capacity to resemble exhumed artifacts, dug up after decades of decay, and riddled with potently psychedelic mycelium ready to spore on the listener's mind. In its unique process and disjointed effect, Eisoptrophobia is arguably an album without precedent, and one that never ceases to yield anything less than a deeply reflective, perhaps even transformative experience with keener ears. Lacquer cut at Dubplates + Mastering, Berlin. Photography by Jacqueline Roberts, design by Michael Worthington. Gatefold jacket.
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LP
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BKEDIT 016LP
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Intra is Mark Fell's fascinating study in computer generated rhythm, performed by Drumming Grupo De Percussão on the Sixxen metallophone system: a set of six microtonally tuned instruments originally conceived by Iannis Xenakis for use on Pléäides (1976). Commissioned by Porto's Fundação de Serralves, the eight-part Intra develops from Fell's Focal Music series and his projects with Indian Carnatic musicians. It probes the perceptive difference between ideas of simplicity and complexity by instructing acoustic instrumentalists via electronic triggers relayed through headphones, an idea previously explored on the Time and Space Shapes for Gamelan installation Fell made in collaboration with Laurie Spiegel (Sheffield, 2017), as well as earlier collaborations between Fell and noted virtuoso improvisors Okkyung Lee, Laura Cannell, Sandro Mussida, and Aby Vulliamy. It is important to acknowledge Fell's ongoing interests in the systems of Carnatic music, the Southern form of Indian classical music whose mathematical sound rules are practically inseparable from musical expression in a way that's difficult to comprehend from a Western perspective. In terms of rhythm, Carnatic musicians perform within a set of rules, or tala, whose seven structures each have five variations, resulting in 35 possible combinations -- many more than the usual Western structures of minor and major scales. Heard in context of Carnatic systems, Intra becomes a crafty and even wittily playful piece of sound art, one which undermines deeply entrenched conventions and perceptions of music, both composed and improvised, generated and performed, in a way that's entirely pleasurable, even strangely soothing in its stilted trickle of off kilter tones. Artwork by Joe Gilmore. Edited by Rian Treanor. Mastered and cut by Matt Colton.
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12"
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BK12X12 006EP
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Boomkat Editions offer a major new work by Jochem Peteri's cultishly adored 154 alias as part of the Boomkat Editions 12X12 series. Originally conceived to soundtrack an installation by Delta (the artist behind stacks of Delsin's label artwork), the 22-minute piece's swell of amniotic techno ambience has been sliced here in two parts playing at 45rpm, capturing the billowing but viscous harmonic dynamics of one of 154's most impressive works. Wherever You Go, I Will Follow finds Peteri wholeheartedly embracing the harmony between analog and digital realms in his studio and taking inspiration from the birth of his second child.
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LP
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BKEDIT 015LP
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Boomkat Editions offers the first-ever vinyl edition of Spellwauerynsherde, a masterpiece from LA-based artist Akira Rabelais, originally released on CD by David Sylvian's Samadhisound label in 2004. It comprises a suite of seven medieval choral pieces which have been sublimated and recomposed via Rabelais's self-built Argeïphontes Lyre software. The results arguably stand as one of the 21st century's greatest musical enigmas and could be said to presage contemporary obsessions with processed vocals in a deeply uncanny manner, enduring to resonate with up-to-the-moment music as much as the record's distant roots in the seminal works of 12th century German mystic and composer Hildegard von Bingen, and the writings of John Milton, among others. Spellwauerynsherde has always been crying out for a vinyl issue and Rabelais has done the piece proud with this sensitive new version, allowing its seven parts to gently flow in sequence over both sides, with the added shroud of vinyl infidelity lending a beautifully subtle patina of detachment which perhaps only serves to heighten the paradoxical -- both temporal, spatial and timbral -- nature of the record's ethereal vestibules and elusive, illusory sonic specters. In remodeling these ancient works of art, Rabelais performs a sort of hypermodern animism on ostensibly dead musical material -- dead as in hardly anyone knows or plays them in the modern age -- imbuing them with a contemporary relevance through the process of his bespoke software (which is freely available to download) which serves to faithfully render, open-up new dimensions and plasmic aspects from work which is now nearly a millennia old -- so old you can't even call it classical music. Spellwauerynsherde has set a benchmark for experiments with ancient composition and computer music -- each immersion in this vinyl is akin to floating through the mists of time and will sends shivers down your spine just even thinking or writing about it, never mind listening. Spellwauerynsherde is one of the most magickal, perplexing, and strangely life-giving records that you'll ever hear. Photography by Jacqueline Roberts; Design by Michael Worthington. Lacquer cut at Dubplates & Mastering.
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LP
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BK12X12 005LP
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Brabant Shrobbelèr is a searing 20 minutes of classic and unreleased new beat productions by James Kirby, aka The Caretaker, aka V/Vm, comprising material originally produced in 2006. It was selected and sequenced by Jerk van den Boschalottt and mixed and chopped to mucky perfection by Miles of Demdike Stare, marking up a personally important fifth instalment of Boomkat's BK12X12 series, while also providing an arguably fitting headstone to one of V/Vm's most cultishly adored projects. New beat has long become the black sheep of Manchester's dance music canon, willfully unacknowledged by successive generations of DJs who continue to suckle at the entrails of the Haçienda, when in fact new beat was a crucial part of the manc dance make-up, most often mixed up with Chicago, Detroit, and New York house, and whatever UK bleeps and boops were bubbling through at that time. James Kirby, aka V/Vm, is all too aware of the fact, and thanks to the influence and legendary DJ sets of V/Vm card holder, Acid Alan -- whose new beat collection spilled over the racks at a now defunct NQ record shop -- its memory and place in Manchester's rave folklore has been preserved by only a select few souls who really cannot be fucking chuffed with the constantly regurgitated putative history of the city's club and warehouse culture. Now, 30 years since new beat was syncretized and sonified by the weekending loons of Flanders from the best/worst bits of synth-pop, EBM, house, and electro -- arguably giving birth to the known and beloved rave techno paradigm -- V/Vm's sincerely dark, sexy, and unforgiving dedications take on a new afterlife, re-sculpted into the oft-maligned but temporally appropriate format of a megamix, as was found on dozens of original new beat and acid house compilations and 12"s. Driving from Be-Dash's over-the-limit jackoff, Must Do to the curdled acid gargle of Euro Hit via pure smuts in I Wanna Fuck Miss Nicky Trax, also taking in "Animal" Andy McGregor's "Fuck My Pussy And Hear Me Coming", and previously unknown gold such as Russell Grant and Bajs Grotta, this is the sort of record that deserves its own plinth in the Arndale, preferably somewhere in front of the sweaty gammons and chicken elbows at Gabbott's farm shop. Mastered and cut by Matt Colton.
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12"
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BK12X12 003EP
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The third release in the 12 x 12 series is this total fucking peach of a collaboration made in 2002 by three peers with a mutual passion for the deepest, original NYC garage and house grooves: Terre Thaemlitz (DJ Sprinkles) and Mat Steel and Mark Fell (SND). This is the first appearance of their collective handle You Speak What I Feel since their contribution to Comatonse's 2003 tenth-anniversary compilation, and it finds the trio at their deadliest, producing a deep-as-anything, peak-time killer riding a strolling bassline, pointillist claps, and effervescent chords for 12 minutes of swingers' bliss. Mastered by Terre Thaemlitz and cut by Matt Colton at Alchemy.
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12"
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BK12X12 002EP
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UK artist Beatrice Dillon blesses the 12 x 12 series with the concatenated sidewinder Can I Change My Mind?, finding the square roots of jungle, techno, noise and minimalist dance music firmly anchored in steppers dub and West African percussive tradition. Beatrice's solo works, and collaborations with Rupert Clervaux, define a curious juncture of worldly rhythm studies and probing electronics which exists in a long lineage of avant-garde experimentation. Beatrice synchs swollen, globular bass, needlepoint hi-hats into a mutating bogle which Dillon explores at almost every interstice of half, double, and triplet-timed calculation with devilish sleight of hand and cadence.
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12"
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BK12X12 001EP
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Yally is a new project from Raime, who inaugurate a new series of one-sided releases from Boomkat Editions with their most 'floor-dedicated session in more than five years of operations - two scudding, killer steppers productions from Raime's expert bladesmen, Joe Andrews and Tom Halstead. The paranoid bruiser "Burnt" pins the listener by the windpipe with shanked hi-hats and ratty claps whilst cavernous. With the dread inversion "Sudo", they pronate on the tightest, simmering half-step; harnessing illicitly overloaded, vintage Air Max PSI allowance with shoulder rolling organ motif and nerve-tying ligature.
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2LP
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BKEDIT 014LP
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Boomkat Editions presents DJ Marfox's febrile retrospective Revolução 2005 - 2008, on vinyl for the first time. Originally released on CD in 2015. Both a necessary document of Marlon Silva's early years and a crucial survey of Angolan kuduro's formative phase and mutation in the clubs of Lisbon, the set collects nine cuts of contagious Afro-Portuguese dance music which maps strong parallels to the UK's own transition and flux between grime and UKF, whilst also demonstrating why Marfox is now regarded as the main ambassador and catalyst for Lisbon's colorfully influential and world-renowned style. Taking his name from Nintendo's Starfox character (and establishing a trend for the -fox suffix so prevalent in kuduro and tarraxhina) DJ Marfox was instrumental in shaping one of today's most vital dance scenes with a number of productions from his 17-year-old self cropping up on ear-opening compilations such as the foundational DJs Do Guetto Vol.1 in 2006, and later on the Bazzerk, African Digital Dance Music (2011) set which turned a lot of DJs and dancers onto this sound. He's subsequently released the first record on kuduro's best alibi, Príncipe, and followed Visionist and DJ Rashad to release on J-Cush's Lit City Trax, and has also appeared alongside his Lisbon crew on the Cargaa compilations for Warp Records. However, Revolução 2005 - 2008 returns to his wildest early years; from the hyper disco-techno drive of "Funk em Kuduro" or the galloping darkwave-riding horsepower of "Un Bes Bai" from 2006; thru the killer jump-up down-stroke of "Sem Fronteiras" or the inimitable, body-carving syncopation of "Aiué Remix" circa 2007-08, and his hollering "A Própria" with DJ Nervoso - which could almost be some ravenous Chicago house oddity - all of which illustrate the sound of a young producer firmly finding his feet and blazing a trail where others such as Arca, M.E.S.H. or Nidia Minaj would soon follow. Most of all though; it's a proper dance record for summer and beyond, either as DJ tools or the soundtrack to backyard raves, BBQs and beach parties. Two-sided 12" x 12" color insert with liner notes in English and Portuguese. Cut at D&M, Berlin.
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7"
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BKEDIT 011EP
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Vinyl debut of Elysia Crampton (E + E), inaugurating her Shenandoah series, which breaks from her sample-rich arrangements to explore "Virginian American history and brownness beyond culture, as geology -- as mud, dirt, and mineral." "Moth," written for and featuring the compelling vocal of Money Allah, pays tribute to legendary African-American comedians Stepin Fetchit and Bert Williams against a backdrop of vaporous synths and strings that recalls TCF and Arca. "Lake," Crampton's version of a Bolivian Saya, references John Bunyan's 17th-century Christian allegory The Pilgrim's Progress and incorporates field recordings from a railroad path near Virginia's Shenandoah Mountain. Wraparound artwork. Edition of 300. Mastered and cut by Matt Colton at Alchemy.
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LP
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BKEDIT 012LP
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Italian electro-acoustic maestros Giuseppe Ielasi and Nicola Ratti aka Bellows serve up an engrossing, labyrinthine LP of freeform concrète dub. Rustl is Bellows' fourth side, following a critically acclaimed trio of albums released since 2007 for Entr'acte, Planam and Kning Disc, and also follows Boomkat Editions' last release, by another Milanese artist, Lorenzo Senni, which was coincidentally also mastered by Giuseppe Ielasi (BKEDIT 010LP). In a slight change from Bellows' usual working method, Rustl represents a nimbly frayed sound much closer to what they do in a live situation. Using a few cassette players with tape loops animated by a couple of effects and recorded direct to two-track tape with no overdubs or mixing, they improvise ten viscous, amorphous plays framed by deep, bubbling subs, skittish percussions, and wheezing ferric abstractions with the most uncanny grasp of dub space. Their haptic, small sounds reveal tiny new sleights and discordant quarks with every listen, offering something more akin to a petri dish of live, kinetic cultures than the more fixed forms of their previous slabs. RIYL Senufo Editions, Alva Noto, Actress, Pole, Bernard Parmegiani. Cut at Dubplates & Mastering, Berlin. Edition of 300.
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LP
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BKEDIT 010LP
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2016 repress. Superimpositions is the hyper-colored conceptual follow-up to multi-disciplinary Milanese artist, Lorenzo Senni's landmark LP, Quantum Jelly (EMEGO 152LP). It further consolidates, accelerates and evolves his idea of "Pointillistic Trance" -- an ascetic, extreme approach to the aesthetic essence of '90s-style trance/hard-trance -- with a broader range of song structures, minimalist moiré patterns, and tantric dancefloor arrangements, all executed to visceral impact and challenging, exhilarating effect. Angling deeper into his stripped set-up -- a computer-controlled JP8000 Roland Digital-Analog Modelled S-Source Synthesizer -- Superimpositions reveals seven glistening examples of Lorenzo's current praxis, finding the biting-point between emotional, real-time human input, and the sleek tension of synthesis. Opener "Happic" arches up with breathtaking effect, and never quite gives it back during its seemingly infinite ascent, while "Elegant, and Never Tiring" is a spine-tingling exercise in aerobic coefficients, and the title-track tiers teasing chords in a Sisyphean struggle for deferred gratification. At the LP's blinding, white-hot core, the heart-rush flux of bass arpeggios and spiraling hi-end in "Forever Headline" threaten to careen off the platter, harnessing the rush of a million 'crasher kids circa '98, before closer "PointillistiC" broadsides with a cascade of lip-bitingly beautiful, melancholic chords. It's the tenth, and arguably most impressive original release on cherry-picking label, Boomkat Editions. Mastered by Giuseppe Ielasi in Milan, cut at Berlin's Dubplates & Mastering. Edition of 500 copies.
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LP
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BKEDIT 008LP
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Boomkat Editions is very pleased to present a vinyl version of Pinkcourtesyphone's seductive ambient pop project, Foley Folly Folio (2012) on (neon pink) vinyl as the eighth Boomkat Edition. A sublime, dream-like drift evoking "the sonic essence of some nicely dressed 1960s housewife wistfully peering out her window." It narcotically impresses a deep Lynchian vibe shot through with a dark, ominous feel and mysterious sensuality that's had Boomkat returning to its charms like some modern Betty Draper character with a well-thumbed 50 Shades of Grey. Line boss and revered minimalist Richard Chartier aka Pinkcourtesyphone slimmed down the original five extended tracks to four, opening with the spine-chilling effect of "Wistful Wishful Wanton" -- a five minute dose of swirling voices and amorphous electronics as sensual as they are haunting/haunted -- before succumbing to a deep melancholy with the semi-conscious unease and spectral presence of "A Dark Room Full of Plastic Plants," and segueing the gauzy bliss of "Germs Through Wires (Version)" with crepuscular chorale, "Evening Theme," and the glassy, hollowed beauty, "All Made Up." Newly mastered and cut by Matt Colton at Alchemy. Individually numbered run of 300 copies on glow-pink vinyl.
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12"
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BKEDIT 007EP
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Leeds-based producer Happa has quickly gained an enviable profile, made all the more impressive by the fact that he is just 15 years-old. For his Boomkat Editions he ramps it up with the industrial slam of "13.05.13," before switching tack to sound like Reinhold Friedl dismantling a piano with Emptyset on "Stirring." "Escape" sounds like Alberich mangling a Joyrex side, while "Walice Berl" thumbs its nose at prissy, "perfect" mix-downs. "Put Your Suitcase Down" captures the heartbreaking swell of ambient emotion which eludes artists twice his age.
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12"
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BKEDIT 006EP
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One of the UK's most distinctive dance music producers presents a pair of drowned summer anthems backed by a warehouse-crushing Andy Stott remix. Joe Cowton deals out some super squashed swagger and aquatic drones on "Shuffle Good" and hollowed, arcane dub pressure on "EFX01" -- a regular scene setter in Ben UFO sets. Stott really delivers on the B-side, re-modeling "Shuffle Good" with nods to the sort of darkside D&B rinsed by Grooverider circa '96-'97 and the feedback fuzz reminiscent of Suicide or Powell.
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LP
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BKEDIT 003LP
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Motion Sickness Of Time Travel makes fuzzy eyes for the dancefloor on her sublime debut for Boomkat Editions. The Perennials is Rachel Evans' eagerly-awaited follow-up to her eponymous LP for Spectrum Spools, channeling her celestial energies into concise and emotive ambient-pop arrangements on the cusp of progressive '90s trance. Taking in a handful of gorgeous songs ranging from pastoral instrumentals to strobing arpeggio surfers and sweeping mini bleep symphonies, she isolates a feeling or vibe hovering between the alien horizons of Tangerine Dream and Laurie Spiegel and the heart-aching cinematic yearn of Angelo Badalamenti and Julee Cruise at their best for David Lynch. From the Icarus-like trance ascension of opener "Efflorescence," she makes a deeply endearing virtue of divining unresolved tension between cosmic ambition and lo-fi willpower, defying its teasing gravity to ride pockets of thermal energy with siren-like chicanery on the radiant "The Reynard and the Vixen," while the neo-tantrik positivism of "Foggy Morning" consolidates the compatible dimensions of Laurel Halo and Suzanne Ciani with bittersweet effect beside the lushly heightened sensuality of "The Chord and the Centre." Ultimately it's as close as we've seen MSOTT get to the dancefloor, a direction we reckon she should continue to explore. Mastered and cut by Matt Colton at Alechemy. Limited to 500 individually-numbered copies -- last copies available.
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