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New Ground

modernlove on May 12, 2011 09:29

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    In 12 Sets

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    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.

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