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James Holden
Browse the latest digital releases by James Holden
Review: Last year, Border Community heavyweights James Holden and Luke Abbott took part in a special performance to mark the 80th birthday of minimalist legend Terry Riley. Here, the extended pieces they performed that night are finally released. Holden's 46-minute piece - performed with tabla player Camilo Tirado, and created by writing a special sequencer for his modular synthesizer - is little less than an exotic, slowly evolving masterpiece, up there with the American composer's finest synthesizer works. Abbott's "555Hz", on the other hand, is an altogether deeper and more languid affair, but no less enthralling. Built around droning, drawn-out chords and subtle melodic shifts, it bubbles away attractively like the greatest intergalactic ambience.
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48 BCD
26 Feb 16
Experimental/Electronic
26 Feb 16
Experimental/Electronic
Review: As part of a cultural exchange programme that found Floating Points and James Holden travelling to Morocco to take part in a unique collaborative week next to the pool at the Fellah Hotel. Working with Maalem Mahmoud Guinia and his band, the British artists turned in their own versions from the sessions with excellent results. Floating Points takes a delicate approach to the source material, slowly feeding in considered synth lines to accompany the traditional claps, chants and guembri. James Holden meanwhile offers up three different tracks which instantly fall louder, working more effects processing into the mix and capturing a rough and ready African production vibe that equally complements the music.
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46BCD
20 Apr 15
Experimental/Electronic
20 Apr 15
Experimental/Electronic
Played by: Nick Dow
Review: One of The Inheritors more subdued moments, it may initially seem odd for James Holden to have chosen such an undanceable track for its own EP, but here it finds itself warped into new forms for the club environment. The "Tool" version sees Holden laying a slowly unfurling rhythm under the original's pastoral analogue synths which ebb and flow with a new intensity. The "dub" does much the same but in a more subdued manner, while the "Gibbersolo" isolates the deeply disturbing vocals to chilling effect.
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42 BCD
11 Nov 13
Experimental/Electronic
11 Nov 13
Experimental/Electronic
Review: James Holden continues with the pastoral theme that has defined Border Community since day one. In this instance however, the bucolic influences stem from time spent listening to the trippier end of Krautrock. The title track is a sprawling synth affair, its high-pitched squeals, whirs and squeaks reminiscent of early Kraftwerk or Tangerine Dream. There is an argument that this could be nothing more than an act of self-indulgence, but as the "Arpsolo" version shows, there is something unfeasibly beautiful and yes, fragile about this release. Holden's DJ followers will also be won over by the filtered, rolling drums of the "Drumsolo" version.
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39 BCD
23 Aug 13
Minimal/Tech House
23 Aug 13
Minimal/Tech House
Played by: Flash Atkins, Pete Tong, Juno Recommends Minimal Tech, Resident Advisor, Abstraxion, White Collar Boy
Review: This is by far and away the best thing James Holden's released for some time. Sounding not unlike a fusion of Steve Summers' Confused House project, Kelpe and Caribou (fitting, since he dons his Daphni guide to remix), "Renata" builds on a wave of fuzzy, crystalline synthesizer appreggios - underpinned by a lone drum machine - before unleashing some dizzying jazz drums. The Daphni remix takes the track in a different direction, creating a sparse, clicky, atmospheric beast that makes great use of Holden's loose live drums and some choice vocal samples. Steve Moore, on the other hand, opts to focus on the more beautiful elements of the original, turning it into a dreamy slice of synthwave bliss.
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43B CD
07 Jun 13
Minimal/Tech House
07 Jun 13
Minimal/Tech House
Review: Border Community head honcho, James Holden has always maintained a kind of DJ free spirit which has enabled him to work outside the usual constraints of techno as we know it. This, alongside his dedication to new production talent has made him the perfect choice to compile the next instalment of !K7's long serving DJ Kicks series. Out later this month, the compilation is, as usual, accompanied by a single from the UK producer. "Triangle Folds" is Holden's first release in four years yet still feels like a logical progression from his last effort, 2006's debut The Idiots Are Winning.
Using his extensive modular synth collection to mould tripping mid-tempo sequences which sway, bobble and bounce with Holden's typical lushness and acute sense of melody, "Triangle Folds" has a delicate but unmistakably danceable feel to it. The track is a glittering combination of analogue synths arpeggios and buzzing drum pads that tick away in their own inimitable and curious rhythm patterns. These rhythms are loose and have a live feel, typical of Holden?s trademark sound, as are the quirky time signatures. His ultra detailed approach to techno once again manifests itself here, so much so that it?s 115 bpm pace would even refrain many from even calling it techno. B-side, the "Inside Out" version is even more unconventional, slowing things down yet more and turning proceedings into a folk tinged, psychedelic tambourine Schaffel rework. Focusing on the sounds and atmospheres that surround the slowly pulsating beats, we are left with an intoxicating mix of arpeggiated bass and trickling synth lines. Both tracks show James Holden at his individual, unconventional and wonderful best. It is his ability to avoid dance music?s most tired cliches, as once again proved here, that makes James Holden the singular producer that he is.
Using his extensive modular synth collection to mould tripping mid-tempo sequences which sway, bobble and bounce with Holden's typical lushness and acute sense of melody, "Triangle Folds" has a delicate but unmistakably danceable feel to it. The track is a glittering combination of analogue synths arpeggios and buzzing drum pads that tick away in their own inimitable and curious rhythm patterns. These rhythms are loose and have a live feel, typical of Holden?s trademark sound, as are the quirky time signatures. His ultra detailed approach to techno once again manifests itself here, so much so that it?s 115 bpm pace would even refrain many from even calling it techno. B-side, the "Inside Out" version is even more unconventional, slowing things down yet more and turning proceedings into a folk tinged, psychedelic tambourine Schaffel rework. Focusing on the sounds and atmospheres that surround the slowly pulsating beats, we are left with an intoxicating mix of arpeggiated bass and trickling synth lines. Both tracks show James Holden at his individual, unconventional and wonderful best. It is his ability to avoid dance music?s most tired cliches, as once again proved here, that makes James Holden the singular producer that he is.
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K 7261EP
25 May 10
Minimal/Tech House
25 May 10
Minimal/Tech House
