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.
Review: Given that the precocious Nathan Fake was a pioneer in the area of melodic, indie meets electronic, it's strange to hear him calling a release Paean. Despite this, it's business as usual for the UK producer, with a cascade of melodic lines and psychedelic modulations unfolding over a rattling break beat. By contrast, the Coda remix is but a short, noisy outro and Lukid's version is a noisy, bass-heavy broken beat reshape. It's the Lone version that most articulately captures the spirit of the original version. The synth sounds redefine the term 'breezy' and, over brittle break beats, veer into melodies so sweet that they could replace the sugar in your morning cup of coffee.
Review: Kate Wax joins James Holden's Border Community and fits right in instantly. Wax's is a dark, haunted take on pop music, with the kind of minor-key tones and drones that pervade her new home across its considerable legacy. While there's been a penchant for fuzzy production values in this kind of music this year, Wax instead has a refreshing airiness to her tracks without holding back on the elements. Where some of her contemporaries come off sounding stilted or just plain try-hard, Wax sounds assured and alluring in her execution of the cohesive idea that makes up Dust Collision.
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