on Thursday, 28 October 2010

An awesome 7" single that clearly should've been a double A side, both songs ridiculously catchy in different ways, (I've Got) Privilege is a cocky, funky beast of a tune, played at half pace in the coolest manner ever. Detroit Music is better still, stupidly fine garage which would fit perfectly on one of the Nuggets compilation and shows former Kindercore band the Agenda how it should have been done, definately one of the singles of the years and a track that i'll be playing again and again.

Chain and The Gang feature Ian Svenonius of Nation of Ulysses, The Make-Up, Weird War and Siesta records Dave Candy.

Spoiler : What KRecords Said:
Have you heard? Grandma's doing the bird to the latest rock-breaking teen sensation, the wig-flipping Chain & the Gang. "(I've Got) Privilege” is the latest volume in our International Pop Underground series of 7” 45 rpm records. Young and old alike love the beat, the cranked riffs, just the overall vibe! You may, too, as soon as this package slides under your door. Ian Svenonius and chums have really come up with a winner of a dance task master, a real double-A side plate. Chain (o.k., Ian) croons on the first side; espousing the joys of being part of the privileged class. Then he gets real confused about the relationship between cars and music (isn’t it obvious?) on "Detroit Music ." "(I've Got) Privilege” was recorded by Calvin Johnson at Dub Narcotic Studio here in Olympia, Wash. Breaking all the chains, in the best possible way.

Find more artists like CHAIN & THE GANG at Myspace Music

on Tuesday, 19 October 2010
Another delightful release care of Matthew Coopers Eluvium project, again caked in static, great waves of fuzzied memories and winter winds blowing straight into your face, pianos fade in and out and even though it clocks in at over 50 minutes this is the kind of track that could happily be left on repeat till the day I die.

From the man himself:

"i am often asked

what artists and albums are of influence to me

and although i am an avid consumer of music

i am ultimately a fan of sound in a much larger sense

it is from rain falling, the ocean swelling, the wind picking up

cars driving by, train yards, box fans, etc.. etc.. etc...

the amalgamation of these things creates a wonderful comfort to me

and it is in this "static" that ideas and music come to me

the mixtures of these elements create the chord changes and melodies

or are the foundation by which they are found

there is nothing more comforting to me in the world

than the flood of this vibration at a constant

"Static Nocturne" is an ode

to the process by which inspiration finds me

and an homage, of sorts, to this foundation of noise"

on Monday, 18 October 2010

Those won over by Annea Lockwoods epic "A Sound Map of The Danube" or even those that found it a little too epic will welcome the sound of the Seaworthy's collaboration with Matt Rösner, two lakes is based upon...well fairly obviously sound recordings made at two lakes, namely Meroo and Termeil.

Like the aforementioned Annea Lockwood and maybe less "out there" contemporaries (less "out there" in the sense that their pieces tend to have a less tenuous connection to the art we know as music rather than literally being the sound of water, birds and all sorts of wildlife) such as Jana Winderen and BJ Nilsen, the sound here is very much at one with nature, the lush and tireless sound of water lapping and flowing, gentle winds causing delicate microphone static and the lovely drones that Matt Rösner has already made us familiar with once this year on his Repeat album.

Should you be unfortunate enough to be holed up in the city all autumn then maybe this might be your first step towards reminding yourself of the beauty of nature.

Mp3 source: Brainwashed

Spoiler : What The Label Said:
In April 2010 12k recording artist Seaworthy (the recording project of Cameron Webb) and Matt Rösner travelled to the south coast of New South Wales to undertake a detailed field recording study of two coastal lake ecosystems at the Lakes Meroo and Termeil. The aim of the project was to explore the sounds of a fragile coastal Australian environment and to build from those sounds unique musical pieces that provide a place for listener contemplation and reflection.

Field recordings were taken from the lakes and surrounding beaches, forests and streams at different times of the day. Various equipment including a hydrophone, a shotgun and stereo microphones were used to capture the natural sounds of each lake. During breaks in field recoridng, the artists set up recording equipment in a nearby lakeside cabin. Using acoustic and electric guitars, a ukelele and electronics, a series of improvised performances were documented. On the last day of the trip, with the experience of the recording process still fresh in mind, rough arrangements were created from the field recordings and improvised sets. Matt Rösner then took these arrangements back to his studio in Myalup - a small coastal town on the opposite side of the Australian continent - to mix and finalize the production.

Both Rösner and Webb have been active in the Australian experimental music scene for over 10 years with a plethora of releases on local and international labels, sharing a similar vision of molding found sounds and field recordings with traditional instrumentation and electronics. Aside from shared musical interest both artists grew up in close connection with the Australian coastline, albeit on opposite sides of the continent. This connection with their landscape as a remote and diverse place is evident in the pieces created by the artists during their collaboration on the South Coast.

Two Lakes marks the third full-length appearance for Seaworthy on 12k following 2006’s Map In Hand and 2009’s 1897 and blends his signature guitar style with the beautifully arranged field recordings and electronics of Matt Rösner. Two Lakes is a strikingly stark and lonely album undeniably influenced by the remote recording cabin and delicate Australian ecosystem. The blend of instrumentation comes off more like a natural, live duet between artist and nature than a modern-day layered recording. Webb’s finger picked acoustic guitar and ukelele play off of the sounds of wind, reeds and insects in perfect harmony, supported by soft beds of eBowed drones and careful electronic tones. Despite their human presence Rösner and Webb manage to create music that resonates on another level, as if composed by the lakes themselves.

The artists have set up a blog where you will find additional photographs, field recordings and notes from the Two Lakes session. It is also a way for Webb and Rösner to keep an ongoing dialogue between themselves and to expand on the project.


Spoiler : What Boomkat Said:
A brilliant new collaboration from two of Australia's leading electroacoustic practitioners, Two Lakes finds Seaworthy's Cameron Webb joining forces with Matt Rösner for an album based upon the sounds of the coastal ecosystems of Lakes Meroo and Termeil in New South Wales. The duo set about collecting detailed location recordings of the various lakeside habitats and environments, capturing sound from forest regions, streams and beaches at different times of day. Hydrophones as well as more conventional mics were used to document the natural sonic activity, and the two musicians even found some time to set-up a studio in a nearby cabin so as to lay down improvised instrumental performances using acoustic and electric guitars, ukulele and electronics. Instrumental and environmental sounds are unified in the final mix, and the results never fail to be enthralling. That's not always the case with albums of this kind. It's all too easy for music like this to become a little wishy-washy - neither one thing nor the other - but Two Lakes feels like a very synergetic meeting of documentary field recording and instrumental performance. The tone of a piece such as 'Meroo Stream' far transcends the sort of pastoral tranquility you'd expect from such a project, and instead there's a real sense of solitude, and even... dampness permeating through the mix. Superbly recorded and beautiful on a surprisingly visceral level, Two Lakes comes very highly recommended indeed.
on Sunday, 17 October 2010
I seem to remember 2009 having a plethora of great ambient releases and much noise being made of what was being released ready to be streamed into our headphones giving us a place to escape to. Maybe i'm not hanging around the right circles, but certainly the forums I frequent have been less vocal about the genre this time round. One release however that has caused a stir would be that of Jefre Cantu-Ledesma, a man who goes by many names, whether that be as part of Tarentel, Colophon or even a further play on his actual name, Jefre Sei Getsu Ledesma which he used on last years Namu Kie Butsu, an album i wish I hadn't neglected so much now.

His latest offering is on the reliable Type label and entitled Love Is A Stream, here we have a collection of pieces that crackle like radio static, a conversation at sea, a shipwreck of a sound, the sound of a soul holding on to life as the waves take them under, fighting for each breath, images of the past flashing through the mind, regrets and the wish that you'd done things differently.

The sound flows and gushes through your ears at times reminiscent of one of my all time favourite ambient pieces, that of Zerthis Was a Shivering Human Image by the much loved Eluvium. This is one to let yourself get wrapped up in this autumn, a thing beauty and great depth.

Stained Glass Body by Jefre Cantu-Ledesma
Where I End & You Begin by Jefre Cantu-Ledesma
Where You End & I Begin by Jefre Cantu-Ledesma

Spoiler : What Boomkat Said:
Best known as a founding member of Tarentel and The Alps, Jefre Cantu-Ledesma returns with a brand new album for Type having previously released solo material through Spekk, Arbor and his own label, Root Strata. "Love Is A Stream" marks a radical rethink of the classic dream-pop template, taking an impressionist's brush to the established genre traits. Full of noise and expertly sculpted feedback, tracks such as 'Loving Love' feel like an all-analogue take on Fennesz's noisier moments, complete with hazy exchanges between skyscraping major 7th chords; you might equally suggest that Love Is A Stream goes some way towards joining the dots between My Bloody Valentine and more recent drone-pop scene leaders such as Tim Hecker and Grouper. Although the dominant component parts of this sound seem to spring from the fiery embers of molten synthesizers and tape saturated guitar tones, the album derives some of its luxurious textural presence from vocals supplied by the likes of Type boss John 'Xela' Twells, Lisa McGee and Maxwell August Croy. You can just about make out lost voices roaming around the pulverised mix of 'Stained Glass Body' and the billowing 'River Like Spine' (though it's fairly hard to make any single element out, given how melted and fluid the mixing is), bringing a frail human element to an album that otherwise sounds entirely not of this Earth. The bonus CD that comes with this vinyl edition features a 50 minute assembly of reworked outtakes handled by Type label head John Twells, better known as Xela. He feeds Cantu-Ledesma's sound sources into his analogue pressure cooker, imbuing the material with a warm fuzz and hum that only serves to accentuate the layered shoegaze ambience lurking in the belly of this beautiful music.

A curious album of denseness, wrapped in low frequency ossicilation. Much like the work of say Phill Niblock or perhaps more accurately Saito Koji, or at least a much darker version of the aforementioned, the music(?) presented on Eleh first digital release is made up of, in the very accurate words of the Wire, "just a handful and discrete (and discreet) but highly charged sound events that emerge, overlap, recede and reverberate at critical frequencies over extended durations". Humming drones like factory machinery ticking over, the buzz of lights in an empty office. As encapsulating as it is mysterious. The envelopes that rotate like windmills in Linear to Circular/Vertical Axis are a sound I've never heard presented in such a way before, perhaps a little hard work for the impatient listener but for those with an open mind and an appreciation for creativity, this is a truly excellent adventure in sound.

Spoiler : What Boomkat Said:
*The long awaited Touch debut from Eleh - one of the most fascinating and mysterious projects in contemporary electronic music* Ever since we heard our first Eleh record back in 2006 we've been completely blown away by the precise architecture and conceptual realisation of one of the more mysterious recording projects in electronic music. A succession of eleven vinyl-only releases on Important and Taiga followed, marking the enigmatic figure behind the name as a purveyor of exceptional drone music, exploring analog synthesis with a particular emphasis on the physicality of sound from the very lowest registers of the frequency spectrum. 'Location Momentum' is the first time Eleh's music has become available on a digital format, giving Touch the honour of releasing five long, deeply immersive tracks. The patient deveopment and concentration of resonant acoustic phenomenae on the 20 minute opener 'Heleneleh' leaves us breathing slowly and feeling as though our atoms are about to disintegrate like a sandsculpture built on a bassbin. The overlapping drones hit critical frequencies, creating tactile synaesthetic sensations akin to some religious/narcotic experience. The cathedral-set reverbs of 'Circle One' further enhance the worship/trip, something we recommend experiencing on a good set of speakers as opposed to headphone for maximum effect (apparently you're supposed to be 7 feet away from the sound source), putting us into a drowsy, maleable state, but still acutely aware of an immense and insistent presence in control of our senses. By the time you're onto slow subduction of 'Observation Wheel' expect blurred vision and possibly speaking in tongues as par for the course. Finally we're left open mouthed and drooling at the measured and ultra-precise control of 'Rotational Change For Windmill', gradually lowering the pure, unadorned bass tones into a vacuum of abyssal nether regions, enveloping all other tones until we're in the presence of a mass of tangible air movements, at one with a properly arcane vibe. If the music of Eliane Radigue, La Monte Young or Kevin Drumm has affected your life, this album comes very highly recommended. *WARNING* Do not listen to this album while using heavy machinery or operating a vehicle!

Read full review of Location Momentum - ELEH on Boomkat.com ©
on Saturday, 16 October 2010
Each time I listen to this album i'm left wondering why it took me so long to understand it, to see what all the fuss was about and to fall totally and utterly in love with it. Without doubt Treny has a firm place in amongst my favourite ambient albums, a worthy contempary of albums like The Fun Years - Baby, It's Cold Inside, Grouper's Dragging a Dead Deer Up a Hill, Phill Niblocks Touch Strings, BvDubs Prayer to False Gods and Eluviums Lambent Material. Its sound is so soothing, deep, not warm, almost eerie in places, but generally enchanting, maybe even spiritual, certainly angelic, the kind of album that demands to be listened to through headphones and certainly a grower.

Spoiler : What Boomkat and Miasmah Said :
Marsen Jules, Arvo Part, Zbigniew Preisner's soundtrack work for Krzysztof Kieslowski, Deaf Center, Max Richter, Erik Satie, Alberto Iglesias - if you are familiar and in awe of any or all of these names then this latest album on the exceptional Miasmah label will no doubt end up on your essential listening pile for the foreseeable future. Jacaszek has managed with "Treny" to assemble an album so heart-stoppingly beautiful and personal that we've been stunned into silence for its entire 55 minute duration. With string arrangements provided courtesy of Stefan Wesolowski, the foundations of the album are set with Cello and Violin painting fragile outlines coloured by subtle electronic manipulations, harp, piano and reduced, haunting operatic voices. Unlike so many of his contemporaries, Michael Jacaszek doesn't make use of any samples, with everything on the album assembled by the musicians on hand (notably Maja Sieminska, Anja Smiszek-Wesolowska and Wesolowski and Jcaszek themselves) - and the subtle grandeur of the album is almost impossible to take in over one sitting, even if the impact is absolutely immediate. This is the kind of album that you just cannot believe a bijou imprint like Miasmah is able to lay its hands on - such is the scale of its success that it feels like a hugely important piece of work, far outweighing almost anything else we've heard in the modern classical field these last eighteen months. Cinematic without ever feeling contrived, "Treny" is surely one of the most impressive, mystical and astonishing albums of the year - we just cannot imagine that anyone listening to it will fail to be utterly bowled over and taken in - listen to the previews and you'll get an idea of just what we mean. Deaf Center's Miasmah label has slowly and carefully assembled a life-changing catalogue of releases designed to enrich and expand our musical horizons, and with "Treny" they have just delivered their most complete and compelling musical statement to date. We absolutely implore you to check this album out, one of the year's most important releases thus far. ESSENTIAL PURCHASE.


Michal Jacaszek's 'Treny' is the seventh release from Norway's Miasmah label - a label that has already created a unique and distinctive identity for itself through a string of releases existing in the darker side of the musical spectrum. Bringing together a variety of musicians and composers from around the world, each artist shares a similar aesthetic and a penchant for introspective, lamenting, classically-influenced music. With this in mind, no better home comes to mind for the new album by Poland's Jacaszek - in fact, it could even be argued that 'Treny' typifies the Miasmah 'sound' and encapsulates everything that is so gripping about the label right now.

The opening track, 'Rytm to Niesmiertelnosc I', sets the dimly-lit scene perfectly. A beautifully arranged string quartet and a lonesome female voice are framed with waves of distant underwater rumbles and creaks, with fragments of harp occasionally breaking to surface to release mournful motifs onto the dense musical canvas. It could be argued that the talent that Mr. Jacaszek holds is in his perfect blending of acoustic and electronic sounds, inasmuch that it is hard to tell where tape loops end and forlorn violin melodies begin.

By the beginning of the second piece, the appropriately titled 'Lament', Jacaszek has already firmly established a sound for himself. Clearly influenced by the liturgical compositions of Henryk Gorecki or John Tavener, with a healthy pinch of Angelo Badalamenti's mood-setting soundscapes, Jacaszek manages to find his own niche somewhere between Murcof and Francois Tetaz's indispensible score for 'Wolf Creek' - somewhere dark and mysterious but ultimately beautifully rewarding and moving.

There are traces of optimism in these songs, and as the album ends with 'Rytm to Niesmiertelnosc II', the clouds turn from a heavy grey to a uplifting palette of autumnal shades as a subtle rhythm emerges to gently guide the listener into lighter pastures. Despite the somewhat uplifting ending, as the last note strikes you may find yourself wanting to turn back into the darkness and start the whole adventure again. Wrap up warm, and carry enough supplies for many years of repeated listening...

Theres has always been a place in my heart for Darren Hayman and Hefner, i can't remember whether it was an NME compilation that featured the track Pull Yourself Together (as well as Kimberley by Clinic) or a tape that Matt Glazebrook made me with The Sad Witch on it, either these two tracks triggered a long standing love affair with Darren Haymans heart broken, never giving in attitude to love. The lyrics have always been incredible, managing to be funny whilst at the same time touching, an art that few have mastered, MJ Hibbett tries it but I see him as a wanna be comedian rather than a singer.

I will admit to being not as much of a fan of the last two albums, that being Pram Town and Essex Arms, though having the chance to see him live recently means that these two will no doubt be revisited (certainly Essex Arms, i'm not even sure it's been commercially released yet). The aforementioned live performance though is where i'm at. The last time I saw Hefner, they had just released We Love The City and they were brilliant, performing downstairs at Rock City, it seems quite strange that 10 or so years later that Darren is performing alone with a Ukelele to little over 50 people at the Chameleon above Clinton Cards in Notttingham, but the setting couldn't have been better. The intimacy of the venue lent itself to allow the songs to come to life, lyrics you'd never heard before making sense, making you laugh and putting the genericism of life in England into a neat and tidy musical format. The references to labels and brands are there, whether it be Ben Sherman or Lacoste, the working men and footballing watching types could find solace in all the sentiments the songs produce. In my opinion this was one of the best live performances charisma wise that i've seen in a long long while, perhaps since Kenickie and i'll be amking sure that I catch him on every possible occasion from now on.

Another fantastic pop album appearing seemingly out of nowhere, Gigi is the work of No Kids member and songwriter Nick Krgovich and fellow Vancouver-ite Colin Stewart, an allstar (well allstar in an indiepop kind of way) cast joins for guest vocals and suceed masterfully, despite the many voices, this still stands up as an album in its own right, rather than sounding like a compilation.

The tracks featuring Chorus stand out, sounding like a 60's girl group, full of feel good multi vocal harmonies, footstomps and handclaps. Zac Pennington of Parenthetical Girls does a lovely job of a boy feeling all to sorry for himself on the lavish Dreams of Romance. Rose Melberg sounds amazing as ever on another highlight, again wrapped up like a sixties hit never made. On One Woman Show Jooey Cook of the Pomegranetes sounds slightly out of tune and untrained in the brilliant and loving kind of way that Kimya Dawson does, a fantastic track with a great Aisler's Set-esque chorus.

This is just the tip of the iceburg, i've not even mentioned guest appearances by Owen Pallet, Dear Nora, Karl Blau and Mirah. A triumph in the art of perfect pop and the ability to recreate that sixties sound.

Gigi - Alone at the Pier (Feat Rose Melberg) mp3
Source: Rawkblog

Gigi - Strolling Past The Old Graveyard (Feat Karl Blau) mp3
Source: fensepost

Spoiler : What Boomkat Said:
Gigi is the handiwork of No Kids member and songwriter Nick Krgovich and fellow Vancouver-ite Colin Stewart, a producer and engineer who has previously worked on albums by Black Mountain, Destroyer and Cave Singers. When Canadians start singing songs with titles like 'No, My Heart Will Go On', it's usually time to duck for cover, but this opening piece actually recalls the traditionalist '60s American pop revisions of Zooey Deschanel and M. Ward's She & Him output - a far more palatable spewing of sentimentality than the ship-sinking ballad it threatened to be. Not dissimiarly, some of the tracks on Maintenant bring to mind Stuart Murdoch's God Help The Girl project, channelling '60s girl group sounds on 'I'm Not Coming Out Tonight' (featuring Sydney Vermont and Marissa Johnson) and 'Alone At The Pier' (with Rose Melberg). There's a wealth of outside personnel brought in for this album, with the biggest names including Owen Pallett (the artist formerly known as Final Fantasy), Zac Pennington (of Parenthetical Girls) and Mirah (the K Records solo artist and affiliate of Mount Eerie/The Microphones' Phil Elverum). Pallett's 'I'll Quit' exemplifies the sort of elegant big-band dynamics Maintenant can achieve, calling upon widescreen, loungey brass and luscious female backing vocals.

Read full review of Maintenant - GIGI on Boomkat.com ©

The early Best Coast seven inches were somewhat lo-fi, that being an underexaggeration and although i'm all for the bedroom musician, they lacked a ceratin something, whilst at the same time having a glint of greatness, just a glint mind. I was a little unsure as to whether or not to bother with the full length but found myself curious of the hype, also a little worried to find that NME named Best Coast as most exciting new act of 2010, since when did I agree with the NME!!??

Anyways, it would appear that Miss Bethany Cosentino (previously of weirdy noise types Pocahaunted, though you'd never think that possible) has got the Mr Sheen out and given her little pop ditties a shiny finish.

It's safe to say that anyone with even the least bit of musical sense will be completely won over by this album, from the very start when she sings "I wish he was my boyfriend" you're without doubt already wishing she was your girlfriend. The album continues at this same high quality throughout , each song littered in affection, the confusion of love and all those sings that go through your mind at that time in life.

At times i think of bands like All Girl Summer Fun Band less a certain percentage of the fun factor, less giddy head over heels in love, more besotted and confused but adorable all the same.

This is gonna be one my albums of the year for sure.

mp3 source: Unpiano

Best Coast - Crazy for You mp3
Best Coast - Goodbye mp3
Best Coast - Boyfriend mp3

Spoiler : What Boomkat Said :
One of the most excitedly anticipated and talked about rock albums of 2010 arrives after a snowballing of blog attention, and great lead-up singles. The buzz around Best Coast was to some extent inherited from frontwoman Bethany Cosentino's previous band, Pocahaunted, but this current project provides a very different outlet for her talents. After early ultra lo-fi bedroom recordings - with the help of cohort Bobb Bruno - Cosentino has nurtured Best Coast into a fully fledged alt. pop forced to be reckoned with, prompting parallels to be drawn with '90s American lo-fi, grunge and like-minded West Coasters like Wavves (who similarly litter recordings with references to beaches, the summer and weed). Naivety and songwriting simplicity seeps through every pore of Crazy For You, but what Bethany Cosentino lacks in musicianship and innovation she effortlessly makes up for thanks to an understanding of classic pop music and her innate ability to write great songs out of two-and-a-half chords at a time. Lyrically these pieces don't stray too far beyond the realm of heartache cliche, and yet as with the join-the-dots chord wrangling every passing moment is underscored by a palpable sense of honesty and sincerity. Cuts like the heavenly 'Our Deal' or opener 'Boyfriend' could hardly be more perfectly formed, despite their primal, ostensibly hackneyed assemblage; lines like "I wish he was my boyfriend/I'd love him to the very end/But instead he is just a friend" don't look great on paper, and yet on record there's some real pop alchemy afoot here.

Read full review of Crazy For You - BEST COAST on Boomkat.com ©

Having long since being resigned to the fact that I would never fully understand dubstep and only occasionally enjoy finding myself in the middle of dancefloor full of people moving in that staggered way that it's lazy beat forces you to, I've been surprised by how much i've begun to enjoy the genre of late. This new found love is in part due to EL-P's wonderful weareallgoingtoburninhell mix with it's occasional dubstep influence and also in part due to this wonderful album that i discovered on a regular visit to the highly recommended Glowing Raw blog.

It's not out and out dubstep, in fact if you wanted to strip it down to the bare facts it's propbably a dub/8-bit hybrid, however you sometimes need an inbetweener album to help you cross over into a new musical haven. In this instance Disrupt have done sufficiently well in helping me take that step.

The album is laced with lovely deep and heavy bass lines, dubby and maybe even in debt to reggae somehow. The kind of thing that would normally have me switching tracks, instead the bass lines are so simple, the whole sound in fact is stripped down but these bare elements, when put together make for a highly addictive sound.

Listen Here

Disrupt - Tubby Rom Module mp3
Disrupt - Bomb 20 mp3
Disrupt - Blast You to Bits mp3

MP3 Source: Phlow

Spoiler : What Boomkat Said:
Probably the most talked-about BASS transmission of recent months - the long awaited debut album from Disrupt is with us and is doing things to our woofers we didn't think quite possible. Make no mistake - this is just about the best appropriation of Jamaican dub and 8-bit dancehall you'll likely hear this year - with a slow paced skank and a filthy, uber-bassy production style that has more in common with king Tubby, Black Art and, for that matter, black magic than with any half-arsed wobble presets and lazy dubplates you just might have picked up these last twelve months. Once inside Disrupt's rugged echo-chamber you'll find yourself immersed in a heady, narcotic cloud of smoke, moved by staggered delays, endless reverberations and a tranquilizing cluster of distant instruments and digital detritus all colluding to lull you in and f*ck with your mind good and proper. This is music designed for complete and utter sensory intoxication, tweaked and honed for intense stupefied skanking - and is quite simply one of the most beautifully heavy, chemically enhanced albums you'll hear this year. -Boomkat

Read full review of Foundation Bit - DISRUPT on Boomkat.com ©