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Copeland brings the (schizoid, neon, frenetic) noise for his newest LP on L.I.E.S. Kicking things off with the juddering lo-fi stomp of 'Convoy', pushing hi-passed snares and delayed synth squeals through the mincer and ending up with some mechanically recovered heat, slavered liberally atop a solid foundation of mealy kicks and shuffled hats. 'Qualified' continues where we left off where vox are concerned, taking the mean voice of a hundred robots and gating them with some brutal sample & hold abstractions. In case this wasn't enough of thematic giveaway, bit-crushed synths fire off like lasers into the neon-lit heavens, turning the casual romp through the dystopian wilderness into a climactic white-knuckle boss-fight.
Moving further along, and 'Doggy' presents the first indication of rhythmic convention, with lithe bass fragents flickering over a classic four-to-the-floor percussive backdrop before pulling out the flicker-machine once again to heavily treat the melodic overtones into a brittle amalgam of crystalline pulses and terse filter cuts.
'Ultimo' veers into lite grime territory with sqelchy digital synths weaving their way around the cut-up vocal snippets and tinny flanged cymbals (it would sound great blaring out of a nokia speaker on the back of the 168). Brilliantly futuristic but with nods to everything that has secured its passage up to this point. Copeland has always pushed the boundaries, and this is no different, it just so happens that his boundary pushing has veered squarely into the wonky lo-fi house/techno/misc zone I find so appealing. RIYL Opal Tapes / Cloudface / SNES.
Barry says: Brilliantly eccentric soundtrack to futuristic mishaps, last-life white-knuckle gaming and dusty sampler glitches. Superb.
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