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: 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.
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: Nathan Fake returns with his long awaited third LP. Steam Days is pitched almost directly between the pastoral sounds of his debut Drowning In A Sea Of Love and the razor-edged, abrupt Hard Islands. Some tracks are pushed through sharp, angular rhythmic shapes, such as the strobing bass of "Harnser" or the abrasive "A World of Spectrum", which utilises steam powered, clockwork rhythms, while some show his knack for soft-focus melodies, such as the wistful "Paean" which sounds like Ghost Box hauntology made techno, and the washed out trance of "Sad Vember".
Review: When Nathan Fake first rose to prominence it was due to the fact that his mixture of dreamy melodies and noisy rhythms matched intelligent techno with shoegazing indie - and sounded totally fresh. "Iceni Strings", the latest release by the precocious UK producer, tells a different story. While it is suffused with the hiss of glitchy percussion and sublime melodies, it also features ice cool synths and a dance floor sensibility that had been hitherto lacking in his music. "Sense Head" sees him explore this approach farther, with a jacking, rolling groove supporting spiralling acid lines and his signature detuned melodies. Fake traditionalists will be heartened by the inclusion of "Bauxite Dream" a gloriously lazy, glitchy break beat affair with a sensuous synth melody at its core.
Review: In the fine tradition of Border Community, Luke Abbott comes correct with this selection of winsome techno designed to tug at the heartstrings through heavy deployment of gently detuning synths. "Brazil" in both its incarnations here shimmers with the hazy charm you expect form Mr Abbott, while "Grumble" has a real edge to it thanks to some wilful distortion. The krautrock tendencies of Etienne Jaunet's remix makes it our pick of the two (admittedly sublime) tweaks, although the Gold Panda version is well worth checking too.
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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