Knee-jerk, novice reveiw:
As usual, I wasn’t born when these two lads first put out their own hybrid of experimental, lo-fi ambience, however (to put it poetically) tomorrow (see?) will see the release of their first legitimate work for almost a decade. I say that; having anticipated this record ever since the rumours of the ———/———/———/xxxxxx/———/——— record surfaced, I have been intrigued for the album to drop, and I woke up this morning to find I could buy it on iTunes: I proceeded to do that very thing and here we are. You might know I am a big fan of Warp Records, who boast a roster of huge names like Squarepusher, Aphex Twin, TNGHT, Flying Lotus, Hudson Mohawke and Mount Kimbie, and as such adhere myself to many of their releases, always held back by my age, and bank account. But I have not heard much of BoC’s work before, which is why I preface this as a novice review. I understand they have amassed a relatively large following and fans will certainly not be disappointed by what they bring to the table in 2013.
The single Reach for the Dead really encapsulates a lot of the feeling of the album, so if you have no idea who BoC are, or have never heard much of their music, I suggest you go put it on now. The nostalgia is an instant hit: these are not ‘tracks’, they are songs. A song like Telepath is a stunning vignette we know so well (as is Transmisiones Ferox). Jacquard Causeway really scratches that ambient itch that has been flaring since XXYYXX, just as Mount Kimbie’s new record ‘Cold Spring Fault Less Youth’ does (which I suggest anyone looks at: gossamer). Cold Earth and Palace Posy are those songs that you will hear in your dreams, and they are those songs we think about the analogue sounds of and the distortion as talking to us, and knowing BoC they most likely are. Spreading of ideas through music is the one real reason we all see it as a zen, a feeling we each personally have that we can relate to the artists, or the passions instilled beneath the productions. Nothing is Real weaves a melody that sounds so natural, you can imagine walking down a beach, smoking while the sun dips just below the horizon. That’s why it is my favourite song on the record, but that’s what the old Daft Punk stuff was like (try Horizon, from the Japanese version of RAM on for size). Gemini to Semena Mertvykh is a journey, one that leaves you wanting nothing but to do it again, on vinyl (or acid, but this reviewer does not explicitly condone the use, or distribution, of illegal psychedelics: only more music).
Not to compare the two, but RAM evolved DP’s sound into something new - and in my opinion something equally as beautiful and artistic - whereas this album takes up the mantle that was vacated during their sabbatical, poetically bringing back their nostalgic, emotive sensualities.
And we could talk synths and lines until they release another record in 2020, but there’s little point beyond the majestic blending of enlightening samples elements of acid, house, downtempo, ambient and bassy-goodness. If this whets your palate for some new music, it’s set to release tomorrow (June 10th), or you might be able to get it on iTunes right now.
Signed, a novice.
Make a fist and put it in the center, the dots go faster! If you twist your fist, they go EVEN FASTER. And if you cover the outer edges, it goes slower. Dude, I’ve been sitting here playing with this and laughing like an idiot for like ten minutes.
THIS IS TRANSPARENT TOO
I FEEL LIKE SUPERMAN
in which robin is easily amused