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Sim Hutchins

I Enjoy To Sweep A Room

    Sim Hutchins, a producer and video artist from North West Essex UK, releases his debut album ’I Enjoy To Sweep A Room’.

    Though it stylistically references techno, IDM and ambient-drone, the album could be said to be genre-blind, avoiding any easy classification. It takes an outsider approach to composition, channelling the uncompromising visionistic electronics of Actress, the disintegrating drones of William Basinksi, the cosmic synthwork of Hieroglyphic Being and Jandek's propensity for atonal experimentalism. ‘I Enjoy To Sweep A Room’ is firmly the work of an artist operating on the peripheries of the medium.

    The result is nothing difficult or introverted however, but instead an optimistic and romantic album, a rare example of content, form and concept perfectly complementing each other. It is a work defined by the delay of typical gratification and the build of a tense emotional atmosphere across the nine tracks. Washed in reverb and draped in hiss, beats balance precariously on the stresses of atypical rhythmic patterns. Sim creates harmony from unpredictable melodic twists and centring tracks around the repetition of dissonance, the direct result of manipulating outdated effects units and budget equipment; AM radios, DIY guitar pedals and bad 80s digital reverbs.

    Hutchins cut his production teeth last decade in and around the grime scene, working with MCs and playing Essex pirate radio and East Anglian free parties. After time the collectivity of this approach gave way to a retreat into experimenting with music-making in a more introverted way, focusing on developing longer form tracks and writing towards a debut album. He came to No Pain In Pop's attention via a cryptic Twitter account he ran sometime around early 2013, and released his debut Ecology Tapes EP in early 2015.


    LP Info: Includes hand-stamped indie store bonus disc featuring Sim Hutchins rarities.

    Various Artists

    Bedroom Club III

      The third volume of cult London label No Pain In Pop's ‘The Bedroom Club' vinyl compilation series, an off-kilter electronic exploration of debut production talent and NPIP label artists.

      Ahead of an exceptional debut LP due late 2015 through NPIP, Sim Hutchins (West Essex, UK) opens with a totemic statement of intent; a prismatic and chaotic piece of romantic handmade avant-techno, washed in reverb and built from dissonant harmonies…

      …Berlin’s Selector’s Roll debuts with the luscious, rolling shoegaze/ambience of ’Almost A Gaze’ and rising London producer and NTS radio DJ Throwing Shade - fresh from two acclaimed EPs through NPIP - provides a slice of seductive kosmiche soul…

      …More debuts! Introducing Liverpool producer Kepla with a frayed industrial soundscape beamed in from beyond the 21st century, and mysterious Londoner Carby’s raw & rolling piece of early Zomby style stripped down UK funky…

      …Closing up is South London producer/composer Jire, who released the acclaimed ‘Kiowa Polytope’ EP through NPIP in late 2014 at the tender age of 19. His first track since is a fluctuating sonic structure, deep with emotional resonance. A second NPIP EP due end 2015.

      "Mountain Debris" is the first full-length from A Grave With No Name, a haunting, bewitching history of the band thus far and a glimpse of the compelling future that awaits them A Grave With No Name have always mined their own distinctive vein of haunted, freaked folk/art rock, tracing delicate fissures in the emotional radiography of loss and longing to spellbinding effect. "Mountain Debris" collects together tracks from their (sold out) releases to date – the split 7" single with Natural Numbers and the self-titled EP, released earlier this year – and adds a slew of previously unheard recordings, to create a remarkably beautiful and cohesive whole, albeit one that always seems to be on the verge of imploding into itself, so rarefied and brittle is its beauty. But then, nothing about this record is remotely predictable. The fragile, windblown melodies of "The Sun Rises" and "And We Parted Ways At Mt Jade" open the album, only to be blown away by the stadium-sized guitars of "Sofia", which juxtaposes the galloping drums with AGWWN figurehead Alex Shields' odd, affecting refrain of 'pleased to meet you, I'm so sad'. Similarly, "Silver" roars out of the speakers with almost-anthemic immediacy and urgency, while elsewhere the trembling, piano-led "Underpass" sounds like the most moving song that Palace Music never wrote, and "Open Water" finds the band on fine, mischievous form. 16 songs long and yet still clocking in at just over half an hour, "Mountain Debris" is something of a small miracle.

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