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LONE
AA-side "Triton" serves as a companion piece and keeps things leaner and focused on a 4/4 club sound. Both tracks are peak Lone; mind bending and breathtaking machine funk full of colour and vivacity.
STAFF COMMENTS
Matt says: Whilst hitting the accelerator on his 4x4 stuff, "Waterfall Reverse" marks the iconic UK producer's move into hyper-kinetic drum and bass. With slightly liquid feels, and his usual day-glo optimism; this is a hardcore-flecked, rainbow-coloured DnB blast you're unlikely to forget in a hurry.TRACK LISTING
A. Waterfall Reverse
AA. Triton
Lone Bison's music is influenced by Krautrock, electronica, post-punk, soundtracks and post-rock.
Wave Construction is his first album for Castles in Space. There will be many more.
His debut LP ‘Cape Cira’ became the accidental soundtrack of the long strange summer of 2020 - its lush marimbas, hazy atmos and synthesised bird calls providing the ideal soundtrack for some much needed collective escapism. The record was widely deemed one of 2020’s standout electronic LPs, gaining glowing reviews in Pitchfork, DJ Mag, Mixmag and Resident Advisor, and ranking highly in end of year lists by Crack Magazine, Bleep.com and beyond.
Approaching its follow up, the Brighton-based producer felt a fresh perspective was needed. Originally landing on the name ‘Swells’ as a secret pen-name to write the record under, the intention was to keep the project as separate as possible from ‘Cape Cira’ to avoid settling into familiar territories - but as the record took shape it became clear that it made perfect sense amongst his already diverse discography.
Like ‘Cape Cira’, there is a distinct and intentionally limited sound palette at play on ‘Swells’. Looping vocal cuts, rich cluster chords and undulating arpeggios sit front and centre here - as does the lo-fi plonk of of the CR78 drum machine. But while the record clearly takes influence from a range of vintage sound sources, its overall aesthetic is unmistakably contemporary. Sounds are not artificially degraded nor obscured under washes of sampled tape hiss. Rather, everything is processed with a gloss, hi-fidelity sheen. The record’s rhythms are bright, dry and snappy, and its melodies are processed with a neon poppy glow.
The producer’s unabashed love of contemporary pop music is most obviously exemplified by the appearance of British singer-songwriter Eliza Rose. The pair met for a session at a North London studio back in 2021, and the now Brit Award-nominated singer’s warm, emotive vocal takes became an immediate source of inspiration early in the record’s conception. As such, Rose’s voice is heard in various states of manipulation throughout its duration - initially as reduced and looped phrases, and then finally in full form on ‘With U’: a low-lit, dubbed-out slice of leftfield R&B that beckons comparisons with Tirzah, Little Dragon and even Erykah Badu.
Elsewhere, there are references to G-Funk (‘Oddball’), Autonomic drum and bass (‘Shimmer’), hip-house (‘Love Is’) and even Metronomy-era electro pop (‘Love Me A Little’).
As always, the true magic of K-LONE’s artistry is to present complex, subtle and original ideas in ways that feel familiar and immediate. Melodies are introduced as effortless earworms, only to be twisted out of shape into strange and unusual formulations. Looping rhythms unspool into washes of hazy, dubbed-out ambience before rebuilding themselves. Refined and endlessly creative, ‘Swells’ marks a captivating next step for a producer and record label that have both reliably positioned themselves at the very forefront of contemporary electronic music.
TRACK LISTING
1. Saws
2. Love Me A Little
3. Oddball
4. Strings
5. Shimmer
6. With U (feat. Eliza Rose)
7. Gel
8. Love Is
9. Volcane
10. Multiply
Hugely recommended to fans of Tangerine Dream / Klaus Schulze or Edgar Froeses’ solo work as well as Cluster and lots on (label favourite) Sky records’ output. Musically, the album is wonderful but the sleeve is pretty neat too; Nick adds “I will be forever grateful for the amazing linocut cover art by Ieuan Edwards aka The Black Gold Press. I originally asked if I could use an existing print, but he insisted on a bespoke piece and chiselled lino all night to turn around the print in 24 hours. Then Jules Bigg (one of the original team behind the launch of Ramsgate Music Hall) did the photography and graphic design, the man is a wizard. I am truly lucky to live in an area where, if you chuck a rock in the air, it will land on an artist or musician. I had pretty much given up on making original music, after the untimely death of my songwriting partner some years ago. However, living in an area where new venues have mushroomed and great gigs are so plentiful, has inspired me to dig out the synths and fx pedals again”.
Released in a one time pressing only of 500 with insert cards carrying more of Ieuan and Jules’ work, the album is released by Polytechnic Youth in December.
STAFF COMMENTS
Barry says: This is just superb, a rich and beautiful collection of krautrock-inspired jams. Twinkling arps all slightly off-kilter and saturated into a wonderfully organic juxtaposition of glitchy filter artifacts and blissful, euphoric melodies.If you have come across his 12" released last november with Convextion and titled Zy Clone' on the mighty Legwork, you will get a clear idea of what is on the menu here.
So there you have it, amigos! Raw electro as no other. Always nice to get out of the disco and house dominated scene and see that there are alternatives out there.
STAFF COMMENTS
Sil says: No frills electro for the dark minds out there. Imagine the darker side of Carl Finlow with a slower bpm and you can envision what you will get on this ep. Carefully curated and selected for you, discerning shopper.TRACK LISTING
A1. Age Of Ruin
B1. City Of Illusion
B2. Vortex Unknown
'Saloah' brings bright string plucks and scattered static, gradually moving from haunting ambience into scattered population before growing into the bustling musical thoroughfare it culminates into. 'All the horses' brings things back gain into haunting territory with infrequent, panned bell chimes helping to move things from the staggering acoustic interplay of the first section into an almost melodic carrier / melody refrain.
Move a little further along, and the 'Refiner' duo each play a part in the building of a musical monolith, with the scratching and staggering field recordings being interspersed with auphoric chimes tucked away far enough in the background to be felt rather than heard.
Once again, a brilliantly constructed and meticulously balanced suite of personable ambience, and storytelling field recorded drones.
TRACK LISTING
1. Saloah 04:40
2. All The Horses 06:49
3. Placed In Ember 03:32
4. Roadside Picnic 02:24
5. Refiner Pt.1 02:47
6. Pest Expressed 02:30
7. Refiner Pt.2 03:27
8. The Nomad Roads 16:44
Whether chronicling the drama and drudgery of the night bus, inhabiting a magical fantasy landscape or delving deep and dark into her own psyche for inspiration, Sharp’s tales and travelogues arrive at a unique environ equally rich in the caustic and the cosmic. Lurking somewhere between the eldritch diva manifestations of Diamanda Galas and the wry reflections of Victoria Wood, yet equally driven by a magpie spirit and conceptual chutzpah redolent of Leigh Bowery and an acidic wit damaged by John Cooper Clarke, Natalie Sharp’s brainchild here engineers a collision between the high-maintenance and the kitchen sink that’s a feverish spectacle to behold. Along with her co-conspirators Philip Winter (Wrangler/Tuung) and Will Kwerk, Sharp decamped to the splendid isolation of the otherworldly Bodmin Moor studio of Benge (John Foxx & The Maths/Wrangler) to sculpt these serenades, surrounded by vintage analogue equipment and sci-fi paperbacks.
There, a unique and deliriously disconcerting confection took shape, equally informed by post-punk angularities and electronic experimentation - as on the opening clarion call ‘Home’ or the salacious ‘Knicker Elastic’ - not to mention torch song visions and choral reverie, as on the ethereal ‘Dribble Wizard’ and the poignant closing lament ‘Nowhere’, yet with dramatic panache, abundant absurdity and emotional impact to offer at every turn.
TRACK LISTING
1/Home
2/Knicker Elastic
3/Bijoux Boy
4/When The Water's Cold
5/Nowhere
6/Dribble Wizard
7/ Mr Coral
8/Shame
9/Cornflakes
10/Hammered In Homebase
“Lone Piñon is easily the best band in New Mexico right now. They have tapped into an almost forgotten vein of rich Chicano folk music, learning from some of the great elders of the tradition like Antonia Apodaca and revitalizing the Southwestern string trio with a wonderful virtuosity.” - Jeremy Barnes (A Hawk And A Hacksaw, Neutral Milk Hotel, New Mexico native).
TRACK LISTING
LP TRACK LISTING
1. Borrachito
2. Estas Lindas Flores
3. Las Conchitas
4. Cuando Bebo
5. El Potosino
6. El Querreque
7. El Canario
8. Happy Days
9. Jovencita Idolatrada
10. Mirada Que Fascina
11. Cien A'os
12. Feliz A'o
13. Corrido De Rio Arriba
CD TRACK LISTING
1. El Borrachito
2. Estas Lindas Flores
3. Jovencita Idolatrada
4. Happy Days
5. Cuando Bebo
6. Las Conchitas
7. Cien A'os
8. Feliz A'o
9. El Querreque
10. La Llorona
11. Chote De Flores
12. Mirada Que Fascina
13. El Potosino
14. El Corrido De Rio Arriba
15. Patricia
16. El Canari
STAFF COMMENTS
Andy says: Ghosts in the machine! Excellent stuff.TRACK LISTING
1. Codorphine
2. Mule Bone
3. Draked
4. Drifters Fayre
5. Feliner23
6. Glow Seeds
7. Midnight Latitude
8. Two Note Celeriac
9. Another Moon
10. Sojourn
11. Palace Meltdown
12. The Returned
At this point there was barely a night that Marshall was not to be seen playing live, being asked personally to tour and perform with the likes of Wild Beasts, Bat For Lashes, St Vincent, John Grant, Broken Bells, Jose Gonzales and Radiohead’s Philip Selway to name a few. He was even chosen by Richard Thompson to perform a set at his Meltdown Festival.
His video for lead single ‘Keep Your Eyes on the Road’ was a homage to Peter Gabriel’s seminal ‘Sledgehammer’, and was both approved and complimented by Gabriel himself.
By 2012, the story started to take a different turn when Marshall parted ways with his label Bella Union, and decided to crowd fund his next record ‘The Lovers’. Gone were the acoustic guitars and huge grandiose soundscapes one had come to expect from ‘The Devil and I’, and a new synth led, art-pop sound was introduced. Also gone was the
narrative based blood soaked lyrics, in favour of what seemed to be a listener’s personal insight into Marshall’s sleep anxiety and depression.
Though the record gained significant critical acclaim, Marshall was barely to be seen on the live circuit, playing only two UK sell out shows at the Brudenell Social Club in Leeds, and The Lexington in London.
But as time went on, it was starting to seem that Marshall was becoming disenfranchised with the music industry, and even his own desire to create or perform. In one spit of bile on social media, he described his desire to make any new music as ‘terminally ill’. Marshall withdrew himself from the public eye, got married, went back into full time employment and took up the challenge of scoring his first motion picture, a film by Tunisian director Nejib Belkadhi entitled ‘Bastardo’.
The film went on to be selected for multiple respected film festivals worldwide including Toronto, Palm Springs, Milan
(where it won best picture), Abu Dhabi and many more. It seemed that Paul had opted for an alternative career in music.
In July 2014, out of the blue, Marshall posted a blog on his website speaking openly about how his diagnosed anxiety had finally gotten the better of him, and was now the thing that pretty much determined his decision making process. He spoke of locking himself away in his house and almost trying to shed the ‘musicians skin’ he had been living in.
He spoke about the strong feelings he had previously had about never releasing a record again but now due to a significant event in his life, the tables had turned and he now felt the need to make a new album more than ever.
Paul found out that his long time producer and band mate James Kenosha’s studio ‘The Lodge’ in Bridlington was soon to be no more. ‘The Lodge’ is a small converted barn in the middle of nowhere, and the location in which pretty much all of Paul’s material up to now has been recorded, and the one room in which Paul feels like the veil of anxiety becomes lifted.
Paul decided to lock himself in The Lodge for six days with only Kenosha and trumpet player David Wärmegård, as a swan song to the room in which so much of his music has been created, to see what sounds and personal lyrics would emerge. He specifically wanted ‘no studio trickery’ on this album and wanted a record that captured the very essence of performing in that room, most significantly the piano.
There are no acoustic or electric guitars on this album.
Every note on this album was recorded in that room.
Marshall performs every instrument, except the trumpets.
Most importantly, nothing is processed.
Paul did the most important thing to him, and that was to lock the door, wear his heart on his sleeve and make the record he wanted to make in The Lodge before it was no more.
So who is LONE WOLF? You are about to find out.
TRACK LISTING
01 Wilderness
02 Alligator
03 Crimes
04 Give Up
05 Mistakes
06 Mess
07 Taking Steps
08 Art Of Letting Go
09 Get Rough
10 Token Water
11 Pripyat
Explosions In The Sky & Steve Jablonsky
Lone Survivor - Original Motion Picture Soundtrack
Red River
Night Lights.
Recent R&S album recruit Lone takes the Fake original and makes it very much his own, as 'Paean’s wistful strains slot seamlessly into Lone's seductive wobbly, wonky, early Nineties retro-futurist world view.
Fresh from 'Lonely At The Top' album duty, Lukid’s rework is a more transformative affair, sprinkling his trademark bass heavy hypnotic drum mantras with a suitably warped smattering of Fake’s mystical twinkles.
Finally, Fake’s own bonus contemplative ‘Coda’ version wrings every last ambient drop out of his utopian original.
The ultra-collectable 10” vinyl edition (with artwork by Jack Featherstone) is strictly limited to just 500 copies.
It’s an intoxicating blend of intricate folk-tinged guitar, pounding drums, and hushed vocals. With some nice rhythmic twists and turns along the way it eventually ends in heavy crashing climax. But despite the rock-out ending it still sits well alongside the likes of Fleet Foxes, John Grant , Tunng, Vetiver etc.
One to watch we think!
TRACK LISTING
Keep Your Eyes On The Road
This Is War