Aphex Twin – Serge Fenix Rendered 2 – AFX [Single Review]

Aphex Twin - Serge Fenix Rendered 2

If there’s one thing that Aphex Twin has always been known for then it’s his ability to navigate multiple genres at once.

“Serge Fenix Rendered 2 – AFX” is Aphex Twin doing what he does best, which is to explore the soundscape and destroy any preconceived notion that you might have regarding ‘predictability’.

A pulsing synth remains a constant fixture throughout the song and it’s complemented by a strong drum track. This in turn is support by atmospheric pads that occasionally drop in and out making for a rather interesting listen.

Independent Label Market Bristol

So the news is out! We’re going to be at the Independent Label Market in Bristol on Sunday the 3rd May.

Some of our favourite labels are going to be at the event, so we are practically shaking with excitement. We hope to see you all there.

ILM Bristol Poster
ILM Bristol Poster

Percussions – 2011 until 2014 [Album Review]

Percussion 2011 2014
Percussion 2011 until 2014 Album Artwork

With the current music scene saturated due to a plethora of record labels, both independent and major, many artists are afforded the opportunity to reach a global audience at a very low cost, at least in comparison to the physical format years. One label that has done so to maximum effect is Text Records.

The label, started in 2001 by Four Tet, recently released an album by Percussions (Four Tet) titled 2011 until 2014, which is a compilation of all of his Text Records 12” releases under that pseudonym, and other material from around the same time. Whilst Text Records does not have its own dedicated website, the label has been making waves in other areas, as Four Tet was representing his company at the Independent Label Market event in London on the 28th of March 2015.

February 2014 is one of the few songs on the album that was previously unreleased. Starting off very minimally, it rapidly progresses with a wide array of different synthesizer and pad sounds. An ever-changing piece, this is one song that simply refuses to slow down. This progressive nature is epitomized in the sudden introduction of a very imposing hi hat and kick drum at the mid way mark.

The song Blatant Water Cannon is unique in that it uses the echo effect to enrich the synthesizer pad and vocal sample, both of which are driving instruments in the song, creating an enthralling staccato effect. The song repeats the same patterns for a few minutes before briefly bursting into life with the introduction of an ‘arppegiated’ synthesizer and string pad.

October 2011 is a very interesting song in that it brilliantly blends a very imposing synthesizer with the rhythm of percussion. Although not comprised of much in terms of unheard material, we are treated to an album previously not available in this form neither on vinyl, cd or the digital formats (mp3/WAV). 2011 Until 2014 can be easily downloaded from Percussions’ Bandcamp page.

Kamasi Washington – Re Run Home [Single Review]

Kamasi Washington - Re Run Home - Artwork
Kamasi Washington – Re Run Home – Artwork

Re Run Home by Kamasi Washington is jazz reinvented for the modern masses and future generations alike. The level of mastery on display here is largely unrivalled and sometimes goes uncelebrated.

Washington’s latest album, The Epic, features a 32-piece orchestra; a 20 strong choir, and it total, 17 songs comprise the album.

The Jazzman who has previously featured on Flying Lotus’s albums Cosmogramma and You’re Dead!, calls upon fellow label mate Thundercat on bass and his brother, Ronald Bruner Jr. on drums.

Re Run Home perfectly encapsulates what Washington and co. are all about, perfectly flawless yet seemingly unrefined compositions teeming with complimentary motifs at every turn.

Flying Lotus – Never Catch Me ft. Kendrick Lamar [Single Review]

Flying Lotus - you're dead album cover
Flying Lotus – you’re dead album cover

Perhaps what’s most appealing about Flying Lotus is both the depth in his music as well as the visual appeal. From idea to execution, this is a man who is constantly on the move.  Never Catch Me is taken from the native Californian’s latest album ‘You’re Dead’.

This song is a contradiction in and of itself, in that the mellow sounding pads somehow sit well with Kendrick Lamar’s energetic performance. The song gradually builds up to the constant sound of a synth pad backed by some slightly swinging drums.