Science And Industry Andy Stott

Hi Scores

Everything You Do Is A Balloon

Beatrealm out now.

This idea of beattape is a mixture of journey and fantasy with Hip Hop elements along with some experimental stuff thrown in there, It's also a showcase on various beatstyles I decided to try I got some boombap in there of course, but I have done some traps beat within this tape. This was supposed to be released in 2024, but life events and procrastination stopped me. 

This beat Crystal Dreams. I'm not sure what genre I should to call it to be honest because it's one of the most different tracks I ever made

I hope you enjoy the album.

Crystal Dreams (Beatrealm out now)

Made a track for a friend! Hopefully there will be added vocals soon!

Hyper Dubs

Same thing but for the people who hate my voice.

Perfect World (Instrumental)

Tone Tales From Tomorrow Too

Weeds

In A Beautiful Place Out In The Country

Amo Bishop Roden

Mr. Brubaker's Strawberry Alarm Clock

Under Violent Objects

Following on from a pair of Extended Players released in 2011 ("Passed Me By" / "We Stay Together") Andy Stott returns to Modern Love with 'Luxury Problems', an 8 track album of new material recorded over the last 12 months. Five of the tracks on the album feature the voice of Alison Skidmore, Andy's onetime Piano teacher whom he hadnt seen since he was a teenager back in 1996. There was no grand gesture in mind, it just sort of happened - but after almost a year of studio work the result is really quite unlike anything you'll have heard from him before. 'Numb' opens the album with Alison's voice; layered and looped but essentially left bare and exposed, tumbling into a dense shuffle, sort of somewhere between Theo Parrish and Sade, but more f*cked. 'Lost and Found' follows and deploys a growling rave bassline and a disturbed vocal, the beat assembling itself around a squashed Linndrum like a submerged Prince/Cameo production, haunted and impenetrable, but full of funk. 'Sleepless' started life as an African drum edit that sooner or later succumbed to Stott's intense rhythmic shifts. It's a sound that's been imitated countless times since the release of 'Passed Me By', here re-tooled and re-built for its next evolutionary phase. 'Hatch The Plan' ends the first half of the album with some heavily treated location recordings and a low end grind that probably doesnt quite prepare you for the vocal arrangements that follow - it's just a beautifuly inverted pop song. The second half opens with 'Expecting', the most recognisably 'Stott' moment on the album: a wrecked, deliriously knocked-out 4/4 shuffle deployed at halfspeed; those heavy kickdrums sucking in everything around them. 'Luxury Problems' is next and offers up the album's most quietly euphoric and open 5 minutes; conventional arrangements and drumloops disrupted by sharp disco bursts that mess with what you know: it's straight and beautiful and unbalanced and damaged, somehow all at once. "Up the box" switches up the narrative and goes somewhere else entirely, an extended intro that seems to build continuously for 3 minutes before breaking off into a slowed-down Amen edit, creating a kind of narcotic Jungle variant that fragments everything and ends just at the point you think it's going to go off, before "Leaving" finishes the album with an almost unbareably beautiful arrangement of voice and synth and a final key-change that takes you from joyful to forlorn in an instant.

06-Luxury problems

Boards of Canada - In a Beautiful Place Out in the Country

The Field - Is This Power

I breathed a sigh of relief/That shook the mountain down”
Riz Maslen has had an extraordinary career so far – playing live at Coachella and the Montreaux Jazz Festival, composing for Kew Gardens and the English National Opera, and releasing work on a who’s who of independent labels including R&S/Apollo, Oxygen Music Works and Ninja Tune.
First marked out as a trip hop artist by critics, Riz Maslen had actually arrived in London from the West Country where she had been playing in several indie bands.
The story of her involvement with Future Sound of London and The Beloved at the inception of acid house is well-documented, as is her loan-funded move into production and subsequent releases on R&S, Oxygen Music Works and Ninja Tune.
But scratch beyond those beginnings and an extraordinary trajectory emerges – of an artist building an aesthetic that breathes both electronically and organically, in which can be heard jazz, folk, psychedelia and post-rock, alongside those electronics, samples and field recordings which characterise her early output.
Beyond the musical, those early incorporations of field recordings and found sounds have developed into audio artworks including installations for Kew Gardens and The Southbank Centre.
And beyond the aural, her work has frequently included or required visual elements, both still and moving – in fact, La Prochaine Fois (2001) was both an audio CD and a film directed by Maslen that screened at Sundance.
Now homed in St Leonards On Sea, she has completed her sixth Neotropic studio album, formed improvisation super group Non Blank with Oliver Cherer, Jack Hayter and Darren Morris, and collaborated with Zeroh for several festivals.
Often intensely personal, her focus on honesty in performance makes her a compelling live act.

Under Violent Objects

Neotropic

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