Aeroplane music. Or should I say flying saucer. Either way, flying.

Andy Stott

Never The Right Time

Don't know how (feat. Alison Skidmore)

Produced slowly and meticulously over the last 12
months, these seven tracks are the closet thing we've
had to a new album from Andy Stott since the release
of his debut full-length Merciless five years ago.
Taking influence from an array of seemingly incoherent
noises, from the indefinable and unforgettable mindtricks
of Arthur Russell to the slowhouse of Kassem
Mosse, from the alternate VHS realities of James
Ferraro and Jamal Moss to the Linn Drum classics of the
vintage Prince era - these seven tracks create their own
pace and agenda, largely shying away from the
dancefloor in favour of something more complex and
hard to define.
Following on from the tribal malfunctions of opening
intro Signature, New Ground heads into a chasm of
layered loops, creating a decimated and re-wired funk
template coloured in with frayed percussion and
dislodged vocal samples. North To South starts off from
similar ground but adds a shuffling vibe at a deceptively
intoxicated 110 bpm.
Intermittent is something altogether different, taking
perfectly formed Boogie templates and screwing with
them until nothing quite fits, brittle elements floating in
and out of time yet somehow keeping it together,
before Dark Details delivers the most dancefloor
compatible six minute stretch of the set, all clanging
stabs and dense percussion, somewhere between
Shackleton and Bam Bam.
Execution and Passed Me By end things off on a slowed
down tip, the former deploying an anaesthetised and
padded 4/4 template sunk deeper into the abyss by
deformed, time-stretched vocals, the latter ending off
proceedings with a more delicate palette, letting go of
all that pent-up emotion with nothing but that rumbling
low-end and some strings for company.

New Ground

Faith In Strangers’ was written and produced between January 2013 and June 2014, and was edited and sequenced in late July this year. Making use of on an array of instruments, field recordings, found sounds and vocal treatments, it’s a largely analogue variant of hi-tech production styles arcing from the dissonant to the sublime. The first two tracks recorded during these early sessions bookend the release, the opener ‘Time Away’ featuring Euphonium played by Kim Holly Thorpe and last track ‘Missing’ a contribution by Stott’s occasional vocal collaborator Alison Skidmore who also appeared on 2012’s ‘Luxury Problems’. Between these two points ‘Faith In Strangers’ heads off from the sparse and infected ‘Violence’ to the broken, downcast pop of ‘On Oath’ and the motorik, driving melancholy of ‘Science & Industry’ - three vocal tracks built around that angular production style that imbues proceedings with both a pioneering spirit and a resonating sense of familiarity. Things take a sharp turn with ‘No Surrender’- a sparkling analogue jam making way for a tough, smudged rhythmic assault, while ‘How It Was’ refracts sweaty Warehouse signatures and ‘Damage’ finds the sweet spot between RZA’s classic ‘Ghost Dog’ and Terror Danjah at his most brutal. ‘Faith in Strangers’ is next and offers perhaps the most beautiful and open track here, its vocal hook and chiming melody bound to the rest of the album via the almost inaudible hum of Stott’s mixing desk. It provides a haze of warmth and nostalgia that ties the nine loose joints that make up the LP into the most memorable and oddly cohesive of Stott’s career to date, built and rendered in the spirit of those rare albums that straddle innovation and tradition through darkness and light.

Faith In Strangers

Damage

Violence

No Surrender

Lobotomy

'We Stay Together' is a brand new doublepack from Andy Stott, a companion piece of sorts to the radical inversions of the 'Passed Me By' EP released earlier this year. Its predecessor left many heads dazed upon impact - in the best possible sense - and these six tracks, produced in its wake, amp the pressure to throttling degrees. Entering the digital compression chamber of 'Submission' you become a willing participant, before the lights are cut and you're forced to adjust to the humid atmosphere and bruising, muscle-contracting darkroom throb of 'Posers'. Suitably initiated, the EP's fearless centrepiece 'Bad Wires' plunges into full on mud-party mode, dropping the tempo while intensifying the kinaesthetic funk with slow, clusterf*cked syncopation until you're drowning in synthesized oil and crushed-glass textures. Fully submerged by 'We Stay Together (Part One)' time becomes elasticated like worn VHS tape, calling to mind Jamal Moss and James Ferraro soundtracking a rave in a sodden, flooded sauna, before inescapably tumbling into the sheer black hole of 'Cherry Eye' and left to the slompy jack of 'Cracked'. Blatantly, we rate this record massively, and although it's not for everyone, those looking for a more visceral, intense form of dancefloor pressure would do very well to check in

Posers

Taken from Betonkust & Palmbomen II - "Center Parcs EP", out on cassette and digitally 26 February 2016.

Buy Tape: http://bit.ly/20EqiK1

Betonkust & Palmbomen II - 24x33

Taken from "Reflections 2012-2016", a 30 track mixtape of unreleased music excerpts from 2012—2016 by ¬ b (fka Lee Bannon).

The physical version is available for pre-order through 1080p in double cassette form (limited to 100 copies), and ships June 1.

Buy Tape: bit.ly/1WDB8gY
Digital: bit.ly/1WEJB2Z

Lee Bannon - 3m12 Disc 2-sideD

Premiered by @resident-advisor 
https://www.residentadvisor.net/tracks/893826

"I made this track from samples of a piano board I recorded in EMS Stockholm with LAIR while we were working on our project. And some microphone hiss for the beats. I have been making purely percussive tracks recently for my upcoming album, so for this track I wanted to have an emotive melodic element as well. The title refers to the difficulty it seems as a human to live as you truly want, as opposed to how you think you should." - @eomac

Eomac - Don't Fear Your Own Heart

half stepper

Taken from 'It Should Be Us', Andy Stott’s first release since 2016 and first EP since 2011 - a doublepack of slow and raw productions for the club, recorded this year and following a series of releases that started with ‘Passed Me By’ and ‘We Stay Together’ early this decade. 

There’ll be a new Andy Stott album in 2020, but in the meantime... this one’s for dancing..

It Should Be Us

Andy Stott - Versi

An addendum of sorts to his recent 'Faint Hearted' album, Miles' returns with a half-hour EP more squarely aimed at the floor with four darkened, robust variants. 'Blatant Statement' is up first, slowly emerging from a rough alignment of metallic percussion and abrasive stabs not a million miles removed from the kind of racket you'd most likely associate with Vatican Shadow, before the almost-clipped rub of those super-warm bass stabs shifts the perspective to a different kind of environment altogether. 'Technocracy' delivers an oozing House deconstruction, slowed down and inebriated, while 'Infinite Jest' revolves around an industrial cacophony harnessed into a rhythmic anomaly situated somewhere between a technofied Pete Swanson and a sweaty Kassem Mosse. 'Plutocracy' ends the set with a bleached-out warehouse chug, slowed down and menacing, surrounded by a submerged choral arrangement and more of that toughened hammered-metal sound that runs through the EP.

Posers

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