Press Pause Play

I found this great documentary looking at the relationships between art and technology. Some interesting points are raised. Is the increasing speed at which technology moves having a negative effect on creativity or does it drive it? Technology is allowing everyone to be an artist allowing young people to make art forms that were traditionally only for people with money. Increased communication is introducing an creative influence cycle rather than it being one directional...

PressPausePlay from House of Radon on Vimeo.

Portico Quartet

Portico Quartet "Portico Quartet" Real World Records 29/01/2012

Fusing electronic and traditional instrumentation is a concept that has always fascinated me. When done well, it can remove the clinical precision often attributed to very computer centric music, colouring and complementing organic sounds to produce interesting and unique timbres.
Portico quartet's eponymous third album displays this perfectly, incorporating Drums, Sax, Steel Drums, Double Bass, an array of production equipment and an obvious affinity for Jazz and the more progressive side of electronica, it paints a unique soundscape that wouldn't be out of place as a film soundtrack. The fact that these are live musicians dabbling in production and not the other way round means that each part expresses the personality and skill of the individual members rather than a reproduction of sequenced tracks.
Cyclic plucked double bass riffs and syncopated drum beats echo the influence of Photek and the short naked piano melody of "Export to hot climates" nods to Drukqs era Aphex Twin. The haunting sound of "Ruins" with its speed picked harmonic minor bassline and eastern saxophone melody make it one of the stand out tracks.
This album is much closer to 2009's Isla than to last year's far more straight up jazz set "Knee-Deep in the North Sea". If you are lucky enough to get hold of the special edition, you will get an extra bonus 5 track EP to go with it. Portico quartet have begun 2012 in style and their new live show is highly recommended.

Tracklist:

Window Seat
Ruins
Spinner
Rubidium
Export to Hot Climes
Laker Boo
Steepless
4096 Colours
City of Glass
Trace

10 Albums of 2011

Keeping with last year's tradition I thought I'd post 10 albums that I enjoyed that came out in 2011 and as with last year encourage you to tell me yours. I may add 10 tracks later this week too.

SBTRKT

Metronomy - The English Riviera

James Blake

Little Dragon - Ritual Union

Friendly Fires - Pala

Rustie - Glass Swords

Various - Back and 4th (Hotflush)

Radiohead - The King of Limbs

DJ Shadow - The Less You Know, The Better

Four Tet - Fabriclive 59

Falty DL - Hip Love

Falty DL
"Hip Love"
Ramp Records Feb 2011

Originally Published on 7digital.com

What could be more tempting than a slice of future garage from one of New York's finest beat-makers? Well, how about a remix by one half of Mercury Prize winners, The xx, too?
‘Hip Love’ bears all the hallmarks of a classic Falty tune – heavily-sliced and shuffled two-step beats, brass jazz chord stabs and soulful vocal fragments, all coloured with dirty-sounding synths. It’s reminiscent of Mo' Wax or trip-hop yet the rhythms fuse the swing and tempo of UK garage with the breakbeat science of jungle. Jamie xx does a good job on the flip too, keeping the human feel of the original whilst swapping Falty’s erratic beats for a sparser, almost four-to-the-floor beat, and shifting the focus from the vocals to that satisfyingly bouncy bassline.

Tracklist:

1. Falty DL - Hip Love
   


2. Falty DL - Hip Love (Jamie XX remix)

Exit Records Presents - Mosaic Vol. 1

Various Artists
"Exit Records Presents - Mosaic Vol. 1"
Exit 07/02/2011
Also Published on : 7digital

Drum ‘n’ Bass and Jungle have always been genres that lend themselves well to experimentation. Back in the 90’s break beat slicing and manipulation layered over jazz textures and unusual sounds by jungle pioneers led the way for more outwardly experimental musicians like Aphex Twin and Squarepusher to use the genre as a framework to explore the possibilities of electronica.
This spirit of experimentation has arguably remained dormant (or at least below the surface) for the first part of this decade. However the “no bounderies” approach of the closely connected Dubstep movement has arguably given Drum ‘n’ Bass the wake up call it needed and urged producers to reconsider the genre, question production techniques and avoid what Exit label boss, dBridge accurately describes in a recent interview as “paint by numbers” music.
Exit records has always focussed on promoting forward thinking DNB regardless of whether the music is dance floor orientated or not. On this compilation, dBridge goes one step further. Most of the tracks on this comp, despite many being made by respected producers of the scene, have little resemblance to what your average punter might call Drum and Bass. Taking a leaf out of the dubstep rule book, although still floating around the 170bpm mark, a lot of the beats are half time allowing for a great deal of space for the producer’s ideas such as melody and sonic textures to shine through. The sound sets used are more reminiscent of Vangelis’ Bladerunner score than the latest Andy C set, and the melodies are well thought out progressions rather than straight up loops.
There is a great deal of diversity over this double compilation, tiny percussive snippets alongside dark swamping bass patterns, fragmented soul vocals humanizing futuristic 80’s synth pads. However this all seems to fit in to the autonomic ethos that dBidge et al have strived to define over the past couple of years without sounding disjointed.
Mosaic interestingly features many established Dubstep producers (Scuba, Skream, Synkro…) working outside the comfort of their usual tempo, perhaps freeing up an opportunity to display new facets and influence to their work.
Many originators of the sound have also contributed to this set. Loxy’ and Commix’ offerings definitely have their rightful place. Much like dBridge and intra:mental, they have also done a lot to promote and push the more ambient and leftfield sounds, Loxy with his CX series of podcasts and Commix who’s ( 2009 fabriclive 44 mix brought a much wider interest to the movement.
Though the quality standard is exceptionally high throughout the release, the initial stand out tracks are Croms’ ultra slowed down space disco sounding “Invisible Cities”,
Invisible Cities (Exit, 2011) by Croms
Commix’ City section which somehow manages to sound both organic and digital at once features some lovely stereo circling pad sounds
Commix - City Section • Mosaic Vol 1 • by Exit Records UK and Synkro’ Open Arms with its stunning bell like melody accompanied by emotional vocal stabs.
Synkro - Open Arms by Exit Records UK
Mosaic Vol. 1 is a mature collection of tracks that accurately describe the ambient and melodic side of Drum ‘n’ Bass influenced electronic music in a post dubstep 2011.

Tracklist:

In 2 by Scuba
Pushed by Stray
Fading by Distance
Forgot What I Needed to Forget by dBridge
Open Arms by Synkro
Rendezvous by dBridge
Nu Este Roz by Dan Harbanham
Decayed by dBridge
Splinter by Consequence
Modular Concepts by ASC
Invisible Cities by Croms
City Section by Commix
Time by Indigo
Stepping Stones by Mode
Scene 3 by Instra:Mental
Another World by Skeptical
Motorway by Skream
Further Searching by Genotype
Chasm by Code 3
Essence Of Time by Abstract Elements
Observation Point by System
Vertigo by Loxy

10 Albums + 10 Tracks 2010

In no particular order, here are some of my favorites of 2010. Why not reply with yours? Enjoy.

Albums

Tracks

James Blake - CMYK


Scuba - So You Think You're Special?


Tensnake - Coma Cat


Gorillaz - Stylo


Rustie - Dragonfly


Noisia - Split The Atom


Flying Lotus - Do The Astral Plane


Warpaint - Baby


Bonobo ft Andreya Triana - The Keeper


Boys Noize - Yeah

Mount Kimbie - Crooks and Lovers

Mount Kimbie
"Crooks And Lovers"
Hotflush 19/07/2010

If you wanted to make an electronic album which encompassed the current global trends in bass music around the 140bpm mark, you would be hard pressed to come up with something better than Mount Kimbie's debut. Following on from 2 EPs and remixes for the likes of hot indie bands Foals and The Big Pink, Crooks and Lovers gives the south London duo their full length introduction.
Combining lost guitar chords and vocal fragments with dubstep, wonky and leftfield hip hop beats to form an dreamy organic whole. With much of the instrumentation drawing influence from the likes of Four Tet and Boards of Canada this is certainly not a dancefloor record.
Perhaps the most instantly likable track is the first single “Mayor” (youtube below) with its undecipherable vocal chorus and unconventionally plucked harpsichord riff. Other highlights include, the more future garage inspired “Blind Night Errand” and "Adriatic" which sounds like a tune creating after a sampling session at a band practice.
If you like this album, I recommend you check out other releases on the brilliant Hotflush imprint who also do a regular podcast.

You Can stream the whole album for one week only here.

Tracklist:

Tunnelvision
Would Know
Before I Move Off
Blind Night Errand
Adriatic
Carbonated
Ruby
Ode To Bear
Field
Mayor
Between Time

Spor - Knock You Down (remix)

Spor / Apex"Knock You Down (remix)"Lifted Music 3/5/2010

After a string of great releases from the likes of Spor, The Upbeats and Apex, Forward thinking Drum 'n' Bass Label Lifted Music broaden the field with their first Dubstep release, a remix 12" of Spor's "Knock you down" and Apex's "Nowhere to Run" by Eskmo and Datsik & Excision respectively.
Knock you down is a powerful Stomping take on the original accompanied by a heavy guitar style riff.
On the flip Canadian producers Eskmo and Datsik deliver a gnarly twisted bassline remix that would give 16Bit a run for their money.
We look forward to more Dubstep being release on lifted soon.

Flying Lotus - Cosmogramma

Flying Lotus
"Cosmogramma"
Warp 03/05/2010

There are very strong links between the worlds of Electronic(a) and Jazz Music; both seek to discover new sounds and question the traditional forms that define a piece of Music.
Like his label mate Squarepusher did recently on Just a Souvenir, Flying Lotus delivers an album soaked in Jazz philosophy. Where Square's roots lie in UK Drum 'n' Bass, Lotus's are more in leftfield Hip Hop. But Steven Ellison is no stranger to the world of Jazz. As a member of the Coltrane family, he was brought up with its ideals of experimentation.
But make no mistake, Cosmogramma is more than an interesting, experimental record of which not a single melody will be remembered. Tracks like "And The World Laughs With You" with Thom Yorke on vocal duties and "Do The Astral Plane" with it's Barber Shop style loop re-contextualized over a swung house beat give more an impression of Lotus' live sets.
The wild bass guitar improvisations on "Pickled" and "German Haircut" help the music free itself from the often over structured approach that often comes with using sequencing software.
Cosmogramma lives up to the high expectations of this album to provide a more well rounded, textured and diverse journey than the critically acclaimed Los Angeles album.

The "Ran Out Of Tape" Mix

W
The "Ran Out Of Tape" Mix
2010

Well it's been a while since the last LFCast who knows whether there'll be another one but here's a DJ Mix by yours truly...

The "Ran Out Of Tape" Mix by willmunn

Tracklist:

1. Burial vs. Fourtet - Moth
2. Luke Vibert - Acid 2000
3. Boards of Canada - Midas Touch
4. Metro Area - Miura Bootleg
5. Bjork - Big Time Sensuality
6. Joy Orbison - So Derobe
7. Bop - Clear Your Mind
8. Falty DL - Anxiety
9. Martyn - Mega Drive Generation
10. Pangea - Memories
11. 2000F feat. J Kamata - You Don't Know What Love Is
12. Joy Orbison - Hymph Mngo
13. Ruckspin - Jibber
14. Millie and Andrea - Ever Since You Came Down
15. Prodigy - Out Of Space
16. Skream - Burning Up
17. Foul Play - Finest Illusion (Legal Mix)
18. Deep Blue - The Helicopter Tune
19. Origin Unknown - Valley Of The Shadows
20. Martsman - Hallow
21. Instramental - Watching You
--END OF TAPE--

King Midas Sound - Waiting For You

King Midas Sound
"Waiting For You"
Hyperdub November 2009

I first discovered the true meaning of dub in a Vauxhall basement where an art student friend of mine played me old Jah Shaka 7” off a rig with enough bass to destroy a whole block of houses.
Having learned from that experience, to understand this record, it should be enjoyed, not on puny bass free ipod headphones, but on a good sound system with a little vinyl crackle (let's keep our fingers crossed for the vinyl release).
Waiting For You is the album Massive Attack would have made with King Tubby in a post dubstep world. The album is full of minimal textures which are decorated with beautifully authentic analogue delays and reverbs; a wonderful mix with Roger Robinson’s poetic lyrics and sun soaked accent.
Earth a Kill Ya, one of the highlights describes his grandmother’s philosophy on poverty and a need for environmental awareness.

“Look how they poison all the water,
And sellin’ it back to us in plastic bottles”

Robinson’s deep warm voice is nicely contrasted with his haunting falsetto and occasional vocals from Hitomi. The record is itself has a haunting vibe about it, as on the ghostly metalophone melodies of Meltdown and Blue.
Lost, another highlight is a dancier number full of steppy rhythms and a wonky plucked melody.
Waiting For You exposes a whole new side to Kevin Martin who we know better for his dancehall infused Dubstep productions as The Bug. Together with Robinson, they have successfully managed to keep the records authentic and true to its musical heritage whilst giving it a very modern edge. Another great piece of Bass music from Kode 9’s Hyperdub imprint…

King Midas sound also recently did a very nice mix for Fact Magazine.

__

Kona Triangle - Sing A New Sapling Into Existence

Kona Triangle
"Sing A New Sapling Into Existence"
Porter Records 08/09/2009

Kona triangle is a collaboration between British producers Tom (AKA Keaver and Brause) and Matt (AKA Lone).
Remember those dreamy, floaty soundscapes you experienced when you first heard Boards Of Canada and those random sliced up swung drums you first heard on that Flying Lotus record? Well Kona Triangle combine the two in their debut album “Sing A New Sapling Into Existence” to give you a sonic depiction of the subconscious.
Although the mood of album is very much ambient, many layered sounds appear at different levels of concentration. There is a strong emphasis on creating original sounding synths, rather than emulating en-vogue sounds.
“Sing A New Sapling” is full of contrasts. Although the beats reflect the current LA club scene pioneered by Flying Lotus and the whole Brainfeeder crew. The melodies and textures are more introspective and relaxed perhaps adding a sense of Britishness.
The average track length is relatively short for an electronic album, more like atmospheric snapshots than high adrenalin dancefloor stompers.
Stand out tracks include “Long Mountain” with its cheerful filtered swells. “Craig y Don Lightshow” strongly evoking the surreal moods of Blade Runner. “Air Lock”, with its suitably vacuum sounding synth. The melodic syncopated staccato fragments of “Nemgo Broadcast Co.” and the detuned machinery of “Toybox Kona Remix”.
This album is perfect bedtime music, helping you channel your thoughts toward sonic dream worlds.

Links: Kona Triangle Myspace
Nice Little mix by Lone (one half of Kona Triangle)

Tracklist:

A1: Heavens Gate
A2: Shine A Light
A3: Pinchbeck
A4: Long Mountain
A5: Astorias Ascent
A6: Fresh Flowers Ahead
A7: Craigydon Lightshow
A8: Airlock
B1: Sings And Wonders
B2: Nemco Broadcast Co.
B3: Mango Rubicon
B4: Toybox (Kona Remix)
B5: Mauna Loa

Skream! accused of using Dub midi file

Croydon dubstep innovator Skream! has been criticized by dubroom.org (a website offering free midi versions of Dub tunes) for using their version of "Rock The Nation" by Messian Dread. In a statement posted on dubroom.org, They accuse Skream! of using the file in his "Blue Eyez" track featured on his 2006 self titled debut.
This is of course a slightly unusual example of the issues in sampling in hip hop and electronic music as midi files are not actual audio files in themselves but a kind of "digital score" which your computer plays back with whatever synth is available (often a nasty cheap sounding piano).
If Skream! in fact used the midi file, he mapped it onto a synth which, assuming he programmed it himself, means that he still had some creative input into the sound if the sample.
However, such blatant use of a melody could still be regarded as lazy composition. It would be interesting to see what legal rights Messian Dread and dubroom.org have in this case. However, since both releases probably sold too few copies in the grand scheme of things for any legal action to happen.
You can check out the similarities for yourself at:
Skream! - Blue Eyez
Messian Dread - Rock The Nation midi file

Radiohead live at Reading 2009

Radioheads Reading set was a classic performance encompassing songs from all of the bands eras from "Pablo Honey" to "In Rainbows". Unfortunately, I wasn't there to witness it first hand, but the lovely BBC have put most of the set up on the iPlayer. You can watch this until monday.

LFCast 003

Here's the next installment of the LFCast with a load of new music for you to enjoy. Comments appreciated.




Download LFCast003

Tracklist:

Fanu - Homefree [Lightless]
Radiohead - These Are My Twisted Words [Radiohead]
Bop - Nothing Makes Any Sense [Medschool]
Instra:mental - Watching You [Non Plus+]
Imogen Heap - Canvas [Megaphonic]
Hreda - New Pastures [Self Released]
Tokimonsta - Star Gazing Coma [Unreleased]
A Made Up Sound - Archive [Clone Basement Seies]

Links:

Free download of Radiohead - These Are My Twisted Words

Mary Anne Hobbs' Experimental Music Show on Radio 1 with an exclusive mix by Instra:mental (available to stream till next week

Tokimonsta Podcast for Brainfeeder

Hreda Myspace

Audioscope: Drum Eyes

Wednesday, 19/08/09, The Wheatsheaf, Oxford

Drum Eyes
Hreda
The Keyboard Choir

Tonight’s vocalist free bill takes place above Oxford pub the Wheatsheaf, with a crowd of about 50 mid twenties to mid thirties punters many wearing Mogwai T-shirts and drinking ale.
The gig opens with the Keyboard Choir, yes they do play keyboards and drum machines exclusively, however, they are not about perfectly harmonious melodies like most choirs. Pumping beats accompany the insane whirling synth sounds the various members create and distort with an array of effects pedals. Their sound relies on layers of sustained synths and basslines with one member experimenting at a time. This is all directed by an insane conductor to produce a pretty enjoyable live synth experience.
Next up, we have Hreda, a 3 piece and bassless post rock outfit who entice us with their intricately intertwined guitar melodies. Unfortunately, one of the guitars stopped working at a crucially epic point half way through the set forcing them to stop and play the outro separately, but on the whole a very hypnotizing set.
By this point, the venue is getting unbearably sweaty, it is august after all. The crowd empties into the tiny narrow alleyway that separates the pub from the high street, only to regroup when sounds of the headliners tuning up pour down the stairs.
Drum Eyes, (as many of the crowd are no doubt unaware) is the side Project of Japanese game boy gabber producer DJ Scotch Egg. They are a 6 piece consisting of 2 drummers, a guitarist, a sampler/keyboardist a synth/trumpet player and Shigeru Ishihara (Scotch Egg) on bass and laptop. Their sound consists of many layers of heavily distorted instruments over some heavy doom metal style drums. Though the idea sounds simple but the textures the band produce combined with the sheer noise they make is quite hypnotizing. There is not really any obvious need for the extra drummer most of the time apart from the added volume. About halfway through the set, Shigeru and newly recruited guitarist Kai, jump into the crowd adding an element of audience participation appreciated by all.
All in all, tonight’s bill is different and varied exploring 3 sides to forward thinking instrumental music in an intimate venue which, apart from the heat, was a very enjoyable evening.

Zomby - One Foot Ahead Of The Other

Zomby
"One Foot Ahead Of The Other"
Ramp 25/08/2009

Zomby is an artist that has generated considerable interest since his 2008 debut album “where were you in ‘92” and his self titled "Zomby EP" follow up on Hyperdub. He has established a characteristic aesthetic of retro 8-bit computer game sounds and disjointed melodies, whilst demonstrating an affiliation to both the old skool hardcore rave movement and the “wonky” dubstep scene.
After these 2 interesting releases, I was excited to see where zombie was going to take his sound to next. "One foot ahead of the other" confirms Zomby’s decision to stick to dubstep rhythms. It’s different from the Zomby EP, there is less focus on sound design as on previous tracks like “Aquafresh” and “Gloop” and although he continues to give tracks synesthesic titles like “Polka Dot” and “Bubble Bubble”, the sonic-visual connection seems a little forced compared to previous efforts. There is however more emphasis on tonal melody and maximizing the use of basic chip tune sounds to turn them into sonically interesting tracks.
Unfortunately, it doesn’t take many listens to discover that all the tracks on "One Foot Ahead Of The Other" are constructed in a pretty formulaic way. Each track consists of a basic 2-step or 4X4 rhythm made to sound more complex by layering constant triple time Nintendo arpeggios and melodies. Although this syncopated structure is interesting for the first couple of tunes, it's not enough to constitute the basis of a 9 track EP. Unlike the "Zomby EP" which showed us different sides to the artist, "One foot" seems a little 1-dimensional. There are some nice stand out tracks (“Polka dot”, “Godzilla” and the title track) all of which would introduce an interesting element to any dubstep set as something Link and Zelda might rave to in a digidub world. As a collective piece of work however, "One Foot Ahead Of The Other" lacks a sense of variety displayed in Zomby’s previous efforts.

Links: myspace

Tracklist:

A1:One Foot Ahead Of The Other

A2: Helter Skelter

B1: Pumpkinhead's Revenge

B2: Polka Dot

C1: Godzilla

C2: Expert Tuition

D1: Bubble Bubble

D2: Mescaline Cola

D3: Firefly Finale

Bop - Clear Your Mind

Bop
"Clear You Mind"
Medschool 27/7/2009

Bop is a vegan retro computer game enthusiast from St. Petersburg who makes ambient tinged electronic music. His album “Clear Your Mind” is proof that an electronic dance musician’s style is not defined by his/her chosen genre. The album spans the tempos of Drum ‘n’ Bass, Dubstep and Techno perfectly naturally whilst demonstrating a unified and unique approach.
The tracks all have a spacey techno aesthetic strongly favouring the use of synthetic glitchy percussion sounds and blade runner style pads over the edited Amen Breaks and ragga vocals that are more common place in Bops scene. His approach to drum programming is also very different to his Medschool label mates, focusing on 2 or three spaced out hits at a time rather than a mass of multi frequency layers.
The music has real dream-like quality to it, the ambient synths matched with minimal spaced out percussion could describe a slow motion run through a sea of clouds.
A few artists spring to mind when listening to the album, such as Boards of Canada, 2562, and Gui Borato however, like these artists, Bop’s music displays a distinct sound that is definitely his own.
Stand out tracks include the minimal space-garage vibes of “Clear Your Mind”, the vocoded synth cries of “Nothing Makes Any Sense” and the glitchy iceyness of “Random Thoughts”.
One of my pet hates is labels that release the vinyl version of an album with half the track listing of the CD version. This is especially frustrating coming from a division of Hospital records who claim to support vinyl with their “Stop the war on vinyl campaign”.
Most labels these days include a full CD or download insert with the vinyl copy. Consequently, this review is only concerned with the vinyl track listing including the “Song About My Dog” 12” single.

for more info:
The Drum 'n' Bass forum site Dogs On Acid have done a feature on Bop and the album, this includes a mix that Bop recorded for them.

Here is the official promo mix for the album, including most of the tracks featured on the album. go to Bop's website for the mix tracklisting and more free stuff.

Tracklist:

Vinyl version	CD version
A : Ataraxia	01. Tears Of A Lonely Metaphysician
B1: Clear Your Mind	02. Enjoy The Moment
C  : Nothing Makes Any Sense	03. Ataraxia
D  : Chaosomos	04. Forms, Ideas and Chips
	05. Lost In This World
	06. Clear Your Mind
	07. Nothing Makes Any Sense
	08. Zakoulki Soznaniya
	09. Random Thoughts
	10. I Found You
	11. Rovor
	12. Chaosmos
	13. Song About My Dog

The Mars Volta - Octahedron

The Mars Volta
"Octahedron"
Mercury Records 2009

Having been a big Mars Volta fan since their 2003 debut "De-loused In The Comatorium", I am always excited to hear what the ex At the Drive-in members have to offer next. Having been a little disappointed by the last 2 albums, I wished for a return to form on this record.
The band seems to have taken a new direction with Octahedron. There is more focus on the songwriting structured in (dare I say) a more traditional rock way demonstrated through a more obvious 1970's prog-rock influence (think Pink Floyd and King Crimson). Big choruses on Tracks like Teflon and the single Cotopaxi stick with you in a way that brings you back to the days of At the Drive-in. These are accompanied by quirky hooks and great riffs with the trademark TMV de-tuned guitar effects.
It is interesting to see that Cedric sings in English all through the album which is mirrored in the music, which has much less of a Latin influence than some of their previous work, emphasizing the more traditional prog/psych rock feel of the record.
Octahedron opens with the unexpected ballad "Since We've Been Wrong" with a lovely clean picked riff and harmonized chorus. It's a slow builder with a verse - chorus - bridge structure and drums kicking in at only 5:10!
We continue with Teflon, a stand out track driven by a spastic syncopated break beat and fuzz bass line giving the song a phat space funk feel. It's nice to see that the band have cut down on their long weird ambient links between songs, opting for less dragged out slightly more distinct lead-ins (although there still a few slightly lengthy synth drones).
Halo Of Nembutals and With Twilight As My Guide demonstrate classic TMV work with a more laid back, acoustic feel.
The single Cotopaxi is a much heavier number full of strange grooves and time signature changes with a great riff.
On Desperate Graves, Cedric demonstrates his amazing vocal abilities, jumping the octaves between lines and displaying his characteristic twisted psychedelic imagery in his lyrics.

"Dressed in the slurs of bovine engines
to feast upon the carcass of your mother"

The slow Copernicus sees the unexpected use of glitchy programmed drums which could perhaps have been put to better use on a different track but displays the bands continued interest in experimentation.
Octahedron closes with Luciforms which begins with another Pink Floydesque bass line and develops to uncover a blinding performance both on drums and lead guitar.
All in all, Octahedron is the return to form I was hoping for. It’s not repeating what was done on the first two records but demonstrating the bands more rocky influences and adding a personal touch to them without being too self indulgent. Arguably there best work since Frances the Mute.


Here is the video for the single Cotopaxi:

Tracklist:

1.Since We’ve Been Wrong
2.Teflon
3.Halo Of Nembutals
4.With Twilight As My Guide
5.Cotopaxi
6.Desperate Graves
7.Copernicus
8.Luciforms

Apologies

Hi all,

Just wanted to apologize for the lack of posts in the past few months. I have been very busy moving house and Job hunting. Posts should be a little more frequent from now on. Thanks for your support.

Will