Posts Tagged ‘Album Review’

Pocket Signs – Signs of the Times

Posted: 18 May 2020 in Albums
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1st May 2020

Christopher Nosnibor

Pocket Signs is Sly & the Family Drone’s Matt Cargill and UKAEA’s Dan Jones, and according to Matt’s mail, Signs of the Times was ‘fired out in an afternoon with the aid of lager and pepsi max. Lights out, volume up, watch yer face bins.’ He describes it as the result of ‘plugging in all the objects and making a haunted, sprawling, disorientating racket. Blown out electronics, lacerated drums, churning bass and crumbling voices’. Which means I know I’m going to love it, along with at last 50 other people.

The album features two longform tracks, each a magical, mystical 23 minutes in duration, and like the times in which they were created, they’re a confusing mess of incoherence, a fractured and nonsensical sonic collage.

‘What About Obedience?’ starts out with what sounds like an engine roar – but not a real engine, so much as an engine on a racing console game. Then a deluge of clanks, bleeps, whirrs, clicks, pops, shoot-‘em-up laser guns and twanging elastic bands melting in a nuclear storm all pile in, more or less simultaneously and it feels like watching the news while scrolling through social media (as I do around five every evening while cooking dinner). The experience is utterly bewildering and to even attempt to unravel it all is futile, because the world has truly gone mad.

Searching for structures in this chaotic morass of noise is like trying to find logic in the UK government’s strategy for loosening lockdown, but there are some amazing moments to be found here, as snippets of tunes and spacey krautrock synth motifs emerge briefly from the blistering howl of undifferentiated nose that funnels like a gale.

Gurgles and glops and electronic extranea combine to forge an aural blitzkrieg that could easily be the soundtrack to a digital apocalypse. Everything swirls and melts into a maelstrom that builds a physical mass and hits with an impact that’s more than simply sensory.

Where do you go from a piece that concludes with a sustained squalling blast of white noise that leaves you with the sensation of the end of days? More of the same, of course: ‘How to be Saved’ begins with a series of murky vocal samples, echoed and overlaid, atop burrs of electronic discord, and in no time at all, later upon layer of dissonance has emerged to forge a raging torrent of noises. Feedback strains and scrapes, sharp and metallic with knife-like edges while surging currents gurgle and synth sounds squelch and quirt, titter and tweet around a vortex. Abstraction and chaos reigns, pulsing, bouncing, screaming and bumping in all directions. At time, the melee is impenetrable, bewildering, as it echoes around your cranium. Voices emerge and fade again at random: seemingly, everything is at random, and it’s a glorious headfuck. Not so much a dronewerk as a metadrone assemblage, it’s a wild and brain-frying journey, this may just be the perfect soundtrack to the now – or it may just tip you over the edge.

Oh, and the cover art is truly special.

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Christine Ott – Chimères (pour Ondes Martenot)

Posted: 18 May 2020 in Albums
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Nahal Recordings – 10th April 2020

Christopher Nosnibor

Because detail is important, let’s begin with the parenthesis. The label’s press release announces ‘We teamed up with the extraordinary French ondist Christine Ott to create an unprecedented album entirely made with Ondes Martenot, one of the very first monophonic and experimental synthesizers in history’, resulting in ‘a cosmic journey of layered waves of sound’.

Maurice Martenot’s invention may not have acquired the popular status of the theremin, but Christine Ott’s instrument of choice is nevertheless significant in the evolution of sound generation as one of the very first monophonic and experimental synthesizers in history back in 1920.

Chimères begins with a pause, at least metaphorically: ‘Comma’ is six minutes of instrumental hauntology, as the notes trail, taper and quaver into still air and silence. As the album’s title suggests, this is a curious hybrid work, and while perhaps less monstrous than all that, the Ondes Martenot conjures strange, otherworldly sounds that are, at times, quite unsettling as they yawn, quiver, and squelch into seas of reverb. At times resembling analogue synth sounds, and at others approximating strings and even woodwind, the

‘Todeslied’ is the sound of disembodied spirits flittering around in the physical world, a phantasmagorical freakshow of sonic ectoplasm which gradually bubbles its way through a succession of bursts and plumes via something semi-industrial into a tranquil sunlit meadow of sound. Meanwhile ‘Sirius’ brings some deep ambience, while the eight-minute ‘Eclipse’ brings swirl of darkness that’s more of a sucking black hole than a fleeting dimming of light, building to a whupping rotary sound and blizzard of bleeps in the final minute.

It’s a lot to take in, and closer ‘Burning’ is a magnificent if slightly disorientating combination of slow-glooping electronica and orchestral chamber music. It isn’t easy to assimilate, but it is wonderfully executed, and once you can overcome the unfamiliarity of the form, there are some magical moments to be discovered.

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Owl – Family & Friends

Posted: 13 May 2020 in Albums
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7th May 2020

Christopher Nosnibor

Of all of the releases that have been created under the great lockdown of 2020, this may be one of the most inspired, innovative, and also poignant I’ve encountered yet.

Although the project has been, in part, something to keep York-based lo-fi instrumentalist owl (Oli Knight) busy and connected while there’s no live music, no band rehearsals, or studio time to be had, its foundations are far deeper: the liner notes explain that the album is ‘dedicated to the memory of Alex Winspear who we sadly lost 13/09/2011’, and continue with further detail:

‘Alex had the idea to record pieces of music with as many people as he could in as many different styles, since then I have always wanted to do a similar thing. He inspired me as a musician and a human and I’m happy that I managed to get so many people to be a part of this project, I think he would have loved this’.

As such, all proceeds from Family & Friends are being donated to the Samaritans, and it’s available on a pay-as-you-feel basis.

The album’s forty tracks feature no fewer than thirty-seven contributors, including parents – because if nothing else, being confined to the home has made people resourceful, and to use what’s immediately to hand. As it happens, mum brings hefty percussion and a driving psych/desert rock vibe that’s quite a standout, so it’s a win there.

No doubt partly on account of geography, there are a number of contributors on this album I either know personally, or have seen performing locally, and in some odd way, they provide not only a warm glow of pride, but also a certain sense of comfort.

The first piece features Alex Winspear with owl., and was constructed using a sample from a salvaged recording. Its placing feels obviously significant under the circumstances, and in many ways counts for more than the gentle, flickering jazz-tinged acoustic post-rock of the actual composition, which, it has to be said, is extremely pleasant.

All of owl’s parts were recorded to iPhone in a single take, and any errors remain preserved. This is integral to the lo-fi authenticity of his work, and give it not only an immediacy, but also a humanity that’s disarming, endearing. None of the pieces have titles, beyond the names of the performers, and their range is remarkable, from rolling piano that broods and emotes, to flighty folk, and warpy glitchtronica.

Members of Bull independently provide sounds on two of the tracks, while Charlie Swainston is very much a notable name, but it’s Lou Terry’s scratchy country that stands out, along with

Ste Iredale and Jean Penne’s spoken word segments, which bring a different dimension – primarily words – to proceedings. Elsewhere, Matthew Dick’s gloopy, spacious, looped bass work is quite hypnotic, and paired with a full percussion track, there’s an expansive rock vibe being mined to full effect.

Martyn Fillingham from …And the Hangnails and Wolf Solent, who brings noise and drone are obvious namechecks, and their contributions are also worthy of mention musically.

Family & Friends is ambitious, and succeeds on so many levels, not least on the artistic level that is contains some nice tunes, and with such diversity, there’s something for everyone. Buy it: it’s for a good cause.

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Lawrence English – Lassitude

Posted: 12 May 2020 in Albums
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Room40 RM401 – 1st May 2020

Christopher Nosnibor

One aspect of postmodernism that can be both intriguing and frustrating is its tendency to contradiction. Moreover, the way in which postmodern criticism centres in on the contradictions of postmodern art, culture, and society, and extrapolates how postmodern art revels in the contradictions inherent in postmodern culture without in any way seeking to resolve them. Postmodernity seems to suggest that questions are enough, without need for answers. But are they?

Living in England, I’ve witnessed post-postmodernity taken to the most meta of levels in recent days having witnessed Prime Minister Boris Johnson attempting to detail the new guidelines for managing the COVID-19 pandemic on our small island, and am, along with the rest of the nation reeling at the advice that if I can’t work from home I should go to work, but I shouldn’t go to work if possible, and if I do have to go to work, to avoid public transport, and if I am working from home, it’s ok to go out as much as I like for exercise but only if essential, and I can meet people from other households, but only one person and it must be outdoors, and while maintain a 2-metre distance, which is the same as the distance as from people in public anyway.

Where am I going with this? Apart from more questions, more rhetoric?

Less is more. But sometimes, it’s also less. Lawrence English’s latest offering consists of two longform tracks, of around twenty minutes a piece, corresponding with a side of vinyl or cassette, although at present, Lassitude is only being released as a download. And not a lot happens.

‘Saccade (For Elaine Radigue)’begins with a trilling, rapid-oscillating drone that hangs in he mid-range. It doesn’t do anything, and doesn’t go anywhere, but gradually blurs. No, the sound remains static: the perception of it blurs. At least for a time, after which the notes slow and melt together.

There’s less texture and less shift to ‘Lassitude’, which sustains an even hum for the majority of its twenty-minute duration. It has no direction, and no substantial content, but that isn’t the purpose. There are tonal shifts, gradual gradients down, but they’re slowly incremental, almost subliminal. And ultimately, to what end?

Perhaps there is no end: perhaps this is the end. Perhaps the end has been coming, slowly, all this time, and our lives to now have been a waiting for the end. Perhaps not. What do we know?

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Xibalba – Años En Infierno

Posted: 10 May 2020 in Albums
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Southern Lord – 29th May 2020

Christopher Nosnibor

The title, Años En Infierno, translates as ‘Years in Hell’, and 2020 has felt like years condensed into what in reality amounts to just a few weeks. Time flies when you’re having fun, but drags for an eternity when you’re trapped in one place and life is slowly passing you by. On reflection, though, much of the time post-millennium has been pretty hellish and in myriad ways, and we have indeed endured years in hell – but right now, this moment in time feels abjectly apocalyptic, and the arrival of this album as a soundtrack seems timely.

Five years on from the savage assault that was Tierra Y Libertad, the Californian creators of the heaviest of metal haven’t gone light or soft on us, with a set of songs that switch the pace from breakneck double-pedal drum propelled thrash fury to slow, sinewy doom within the space of a single four-minute piece. Everything about Años En Infierno is dense, condensed, giving it a degree of intensity that truly hurts. It’s physical, pounding at the ribcage and raining blows to the head; but it’s also psychological. The guttural vocals and simply the style of playing exudes anguish, torment. The lyrics – bark, snarled, growled. Amd indecipherable by ear – offer a relentless succession of images of degradation, death, despair, although nothing different from watching or reading the news for a few minutes. This is the world now, and Xibalba soundtrack it perfectly, in that Años En Infierno is relentless, unforgiving, and so hard and heavy that to experience it from beginning to end is to take a thorough pummelling.

‘Saka’ brings a whole other shade of heavy, with thunderous tribal drumming hammering out a pulverizing percussive tattoo. The guitars churn, and they’re a pure filth that gnaws at the intestines: it’s a deeply physical experience, like being punched, repeatedly. When they’re going hard and fast, it’s blinding; when they slow it down, it’s to the pace of slow decay: the air hangs in thick suspension as time stalls to a crawl.

‘Al Abismo I’ marks a change of pace and also mood, with a slow picked, chorused guitar weaving a reflective atmosphere and drifting ponderously into expansive realm between latter day Earth and Fields of the Nephilim. It casts a different kind of darkness, and when the guitars do erupt, albeit briefly, it’s a landslide of sludge, an annihilating tornado of ferocious noise. The track bleeds into its furious counterpart, ‘Al Abismo II’, a guttural, grinding explosion from the bowels of hell. The mid-section breaks it down to a delicate, brooding post-metal chime, but then it goes full-on power-chord crushing dirge as it powers it way to its dark conclusion. It drives a punishing album to a monolithically heavy finale, while also hinting at a certain light on the horizon. We can only hope it will emerge in time.

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Black Earth – In Her Eyes Lies the Golden Dawn

Posted: 7 May 2020 in Albums
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Christopher Nosnibor

Six whole years in the making In Her Eyes Lies the Golden Dawn is the third release from Austin TX’s Black Earth. Before we get to the album, take a moment to reflect on that. Six years. Can you even remember how the world was six years ago? It as another world. We were all different people. I’m going to assume the members of Black Earth have been busy wit life. Life has a habit of devouring time. Yu get sidetracked by dayjob and family, and suddenly, six years have passed. No sarcasm: this is how it happens. I expect some people will have been on tenterhooks for this.

‘She is the Void’ brings an ‘Unplugged in New York’ kind of vibe by ay of an opener, only without vocals, it’s lot less angsty, and it practically bleeds into the title track, which starts out Mark Lanegan before bursting into a chorus that’s more a grunged-up Zeppelin and wraps with a big rock climax around the mid-point. Being over eight-and-a-half minutes, it’s a bit of a beast. I may not be entirely sold on the ‘eyes / thighs’ rhyme but hey, when it comes to good old fashioned rock ‘n’ roll, there’s currency still to be found in booze and birds type relationship stuff.

‘I never meant to hurt you / but you gave me no choice’ goes the opening of ‘Pushing Back My Hand’, and I find myself wondering just how comfortable I am with it, before I remind myself that it’s a mistake to align artist with art, and there’s nothing here that in any way condones any kind of misogyny. In fact, what we have is a pretty straight-ahead blues-grunge album, and a solid one at that.

They pack the riffs, and that’s a fact. ‘Left Behind’ is particularly ball-busting, coming on with enough weight as to sound like Melvins covering some vintage cock rock. ‘She’s a Do or Die’ brings more dirty heft, the guitars thick and overdriven, and there comes a point where skirting sabbath touchstones becomes impossible, although the swaggering space-rock midsection is more Hawkwind and finds the band going all out on going all out, and it kicks ass. And as for the colossal closer, ‘She is the Universe’… woah. It brings the riffs, the repetition, and locks into a dense psychedelic groove, which breaks around the seven-minute mark to return to Mark Lanegan territory, before piling into a massive guitar finish.

It’s so easy to dismiss blues / rock albums – even those that incorporate grunge and psych – as being a bit standard, and being much of a muchness. But that’s a genre thing: let’s face it, within any genre there will always be tropes that form a level of format. This is where it comes down to quality of material and execution, and on In Her Eyes Lies the Golden Dawn, Black Earth have both.

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Ashley Sagar – Beyond Life

Posted: 7 May 2020 in Albums
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3rd May 2020

Christopher Nosnibor

Ashley Sagar is a man with his finger in manifold musical pies, spanning the semi-ambient droning improv of Orlando Ferguson to the thumping Krautrock grooves of The Wharf Street Galaxy Band. It’s Sagar’s willingness to experiment, and to try anything once that’s a significant factor in his interest as a musician. What’s important for anyone engaging in experimentalism is the acceptance that degrees of success and failure may vary along the way, and it’s with no embarrassment that I recall sharing a stage with him and Namke Communications’ John Tuffen for a hastily-assembled improv set built around a sort of sequence and structure that was actually ok, but not what any of us had really anticipated.

Anyway, under lockdown and unable to play his distinctive wandering basslines live with any of the eighteen or so bands he performs with, Sagar has delivered his second solo album of the year, in the form of the soft ambient work that is Beyond Life, which comprises a single track with a twenty-six minute running time.

It begins with slowly rhythmic vibraphone tones that reverberate softly into a warm atmosphere. Immediately I begin to question this: is it a vibraphone? I’m not strong when it comes to mallet percussion instruments, or synthesised emulations thereof. Equally, I can’t trust that my perception of a ‘warm atmosphere’ isn’t coloured strongly by the unseasonably warm and sunny weather paired with the unusual quietness outside on such a balmy evening, where I’d ordinarily likely be at a gig and the street and back gardens would be chocka with people between pubs and stoking early bank holiday barbecues.

As my thoughts drift, so does the music, and although it doesn’t grab my full focus, is does very much permeate my reflections as I go inside myself, recalling a life before all of this, a life when life was actually life, when, however much going out and being among people may have been a cause of anxiety, it was an option, and live shows provided the opportunity to be among likeminded individuals coming together to escape into sonic domains.

And so here we are, all isolated together, supposedly, in a state beyond life. Sagar provides a subtly-structured soundscape to ease these contemplations along, quietly shifting from one tone and texture to another, from light and airy to low and sombre, piano notes ringing out into the emptiness.

The streets are empty. The pubs, hotels, gyms, shops are empty. The sky is empty. The world is empty. We are all empty. And Beyond Life is beautiful.

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Petrol Hoers – 21 Viral Hits

Posted: 6 May 2020 in Albums
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8th May 2020

Christopher Nosnibor

One thing’s for certain: lockdown is galvanising musicians to be innovative in ways that are truly unprecedented. Yes, I said it. The advent of the Internet may have revolutionised / fucked the music industry, and while in a bygone age, home taping didn’t kill music and neither did Napster at the turn of the millennium, iTunes and Spotify, in their attempt to create a new model that monetised downloading managed to inflict new levels of financial harm on the artists they were supposed to benefit.

Having recently found unexpected favour and airplay on BBC radio with a song about wanking lifted from last year’s Oh I Don’t Know, Just Horse Stuff, I Guess, York-based premium purveyors of relentless hoofcore had to do something while unable to don horse masks and dresses in public. And this is what they’ve done.

The Hoers’ press blurb explains it all best, and mostly in block caps:

‘21 Viral Hits is a collaboration between Petrol Hoers and vocalists across the country who answered his call. The initial pitch was pretty straightforward:

"DO YOU WRITE SONGS OR DO SHOUTY VOCALS? ARE YOU ANGRY ABOUT PEOPLE HOARDING BOG ROLL? DO YOU WANT TO CONTRIBUTE TO AN ALBUM OF RIFFS AND BLASTBEATS AND SHOUTING TO TRY AND RAISE SOME MONEY FOR CHARITY?

WE NEED PEOPLE TO WRITE LYRICS AND RECORD VOCALS FOR SOME SHORT SHOUTY SONGS PLEASE HMU IF YOU CAN HELP :3"

but soon resulted in a group of vocalists/lyricists putting pen to paper and then voice to microphone (or in some cases smartphone…) to lay down vocal parts while Hoers worked as a one-horse grind machine to write and record as many tracks as possible. Song subjects were agreed, production advice given and shrieking beast of an album was pieced together that was a triumph of remote collaboration.

With original cover art by Cat Bowen as the finishing touch, this album looks as massive as it sounds.’

And it’s true: it is absolutely fucking massive. And not just because it’s got 21 tracks on it, most of which are themed around this moment in time, as titles like ‘2 Metres’, ‘Lockdown’, ‘Great pasta famine of 2020AD’, ‘Wash Your Hands’, and ‘Selfish Cunts’ evidence.

Because it’s a Petrol Hoers album it’s brimming with high-octane, hundred-mile-an-hour bangers. But while previous excursions have increasingly favoured technoindustrial stylings, with thumping drum ‘n’ bass grooves and gnarly synths dominating the arrangements, 21 Viral Hits sees Dan Buckley and his myriad virtual collaborators return to the Hoers roots and goes full on grind / thrash metal, and it’s a filthy, furious guitar assault, and the longest song is two minutes in duration, on the nose.

‘Locusts’ rages at the panic-buying, trolley-filling, shelf-clearing fuckheads. ‘Insanitizer’ reels off a shopping list of unavailable items: ‘Pasta’s been taken / Bread is scarce’ is the core of the verse.

It’s rather less humorous and irony-filled than anything the Hoers have done before, but it’s an album of the times, and as a relentless, thunderous, metal racketacious capturing of this brief but terrifying moment in modern history, 21 Viral Hits fulfils its objective in delivering a gnarly, shouty, sonic battering that leaves you feeling bewildered, but no less bewildered than five minutes watching the news.

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Videostore – Vincent’s Picks

Posted: 3 May 2020 in Albums
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22nd April 2020

Christopher Nosnibor

Argonaut offshoot and Aural Aggro favourites Videostore have certainly been keeping busy during lockdown: just days after unleashing the lightning strike blast of the 54-second ode to redevelopment, ‘Building Breaking’, with the inclusion of three more previous singles, they’ve delivered a full ten-song album. Better still, the speed of its creation imbues every second with an urgency and immediacy that grabs the listener and keeps a solid grip right to the end.

It’s pitched as the soundtrack to an imaginary 1980s Brat Pack movie set in a Videostore. The songs provide a background for the small-town, the journey and the relationship. Please insert your own characters, plot twists and angst!’

‘Building Breaking’ kicks it off in a flurry of fizzy guitars, and keeping it front-loaded, the dreamy showgazer that is ‘Every Town’, and for all the buzzsaw bangers, there are some beautifully melancholic moments to be found here. They evoke not only a (recent and modern) bygone era, but also conjure a sense of the downbeat and the run-down.

If nostalgia has painted the 80s as an era of shininess, newness, and the dawn of the new consumerism, Vincent’s Picks reminds us that there has always been deprivation, worn-down backstreets and downtrodden folks living mundane lives. The people who rarely feature in big-budget movies. Vincent’s Picks is not about car chases and explosions, espionage and cold-war action. There’s grit and grain, and accessible lo-fi alt-pop in the form of ‘Math Club’. Elsewhere, ‘Aloner’ goes all-out on the big anthem, and they absolutely nail it: what it needs is a montage to accompany it, and lots of shots of rain-soaked brooding.

The opening lines of ‘Not Alone’ have a timeless universality about them, although resonate deep at this moment in time, as Nathan sings in a low, cracked voice that contrasts with Lorna’s clean candyfloss tone, ‘Would you like a cigarette / would you like a cup of tea? / I’m sorry you’re alone… Would you like another drink? / Would you like to watch TV?’. Around the world, there are so many who would pretty much kill to have a drink or cup of tea with another human being. It breaks into a monster guitar break and mess of overloading distortion that’s like Dinosaur Jr gone industrial.

The Pixies-esque ‘My Back’ is an absolute scorcher, and the cover of Depeche Mode’s ‘Never Let Me Down Again’ is unexpected, and really rather good: Lorna takes the lead vocals and it’s a kinds Cure meets Strawberry Switchblade that does justice to a classic. You can almost imagine a reworking of the video inbuilt into the imaginary movie, before ‘Sleep Complete’ brings things to an uplifting resolution.

Vincent’s Picks isn’t an overtly or explicitly concept or soundtrack album, but it does set itself up to present a kind of narrative flow, and it works well. More importantly, there isn’t a duff song on it, which makes it one of my picks, too.

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Coaxial – Neo/ism

Posted: 3 May 2020 in Albums
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Christopher Nosnibor

Coaxial is one of a number of musical vehicles for musician and academic Benjamin J. Heal. For the uninitiated, it’s perhaps worth running some of his biographical information:

His prolific COWMAN project (2005-present) continues to plumb the depths of puerile noise-punk and a lo-fi trash aesthetic, following the footsteps of a more composed Hanatarash and early Boredoms. 2014’s acclaimed Tosokurui-no, under the pseudo-Japanese guise of Hitobashira-ni, illuminated the artistic potential found in exploring the limits of control and chaos in a band environment utilizing guitar, drums, synthesizer, sampler and gong. 2016’s The Brightness on Dead Water (as morimori) showcased contrasts between digital and analog, electric and acoustic, songs and sounds; nudging the chaotic themes of its predecessor into fields of more organic abstraction.

Coaxial – shortly to be reissued on casette by Cruel Nature represents the outlet for his explorations in instrumental electronica, and on Neo/ism there’s humour and wordplay not just in the song titles, but in the compositions themselves. This is apt, given that the Neoist art movement was largely satirical in its purpose, revelling in the depthlessness of postmodernism, and sometimes defined as ‘a prefix and a suffix with nothing in between’. Accordingly, the atmosphere on Neo/ism is denser than its light and airy predecessor, Ear Kites I (2018), but rather less heavy and sinister than 2017’s Reductio ad Absurdum.

It’s a vintage organ synth sound and even more vintage drum machine track that kicks starts the album with the seven-minute ‘Homobile’ (geddit? Linguistics jokes are always a nonstop laughriot). It lands between chillwave and krautrock, but some subtly de-synced chord changes have a vaguely disorientating effect at the start, before tapering off towards semi-ambience around halfway through and the beats dissolve to vapour.

‘Jocks v. Cocks’ is all about the juxtaposition: the track goes harder on the percussion, while the bubbling synths warp and twist, before ‘The Gay Gun’ plunges deeper into bloopy robotix territory, a melting pot of textures and tones swimming in a kind of sonic Brownian motion. ‘The Lonesome Onanist’ goes darker, and Heal’s application of long, grating drone notes that defines many of the tracks on Neo/ism is very much at the fore here.

There are strong technoindustrial elements in the mix, but then there’s a lot going on throughout, often simultaneously. Moreover, the composition seem to become increasingly strange and dislocated as the album progresses: ‘Homocrcy’ marks the mid-point with some spaced-out, space-age dubtronica, ‘Pink Noise’ crackles and pops in a time-shifting microtonal explosion, and ‘Gay Baby’ sounds like it should have featured on the soundtrack to an episode of Nathan Barley.

This all perhaps leads to the question of how serious any of this is, which in turn leads to the question of whether or not it actually matters whether or not the intent is parodic: one can’t hear intent in a recording, and can only engage with the contents of the recording itself. Given the way in which the sound of Neo/ism is characterised by contrast and variance, the experience elicits no one response, but many. And it’s quite a groove.

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