‘Perhaps a set of unrelentingly strident mêlée – a battle between corrosion and contempt with not one discernible victor – on a night alongside the likes of Alfred Darlington and the Hidden Orchestra was, or so he thought, his finest simulation of subversion. Though whereas the evening was supposed to revolve about a crux-like spool of live electronica, Clark instead ungainly lobs a spanner in the works as the whole show grinds to an unnecessarily grating moot point best muted. As such it’s all the more Delphic than in many ways Iradelphic, though as with any which bad wind prophesied, it’ll only blow over…’
Dots & Dashes harness the unbridled disappointment of Clark’s latest London date.
‘Not content with tracing an incendiary blaze through my every online manoeuvre (literally, every targeted ad is attempting to flog me Until The Quiet Comes contemporarily), no sooner has he dropped the LP than he’s back into swing o’ things, secreting this sublime instrumental beauty via Diplo & Friends’ latest 1Xtra show. Arguably a little more elegant than anything featured on his recent fourth, Flotus sounds as though a certain associate by the urbane name of Alfred Darlington got his manicured paws on the track to spick and span whilst streaming some languid ambient. This one spurts undiluted Brainfeeder juice more so than anything Ellison has otherwise emitted to date and tastes delicious, nutritious, and all that.’
DOWNLOAD: Flying Lotus, Flotus.
Flying Lotus plays The Troxy November 16th.
‘Way back when all were shunning vowels as though they were dspcbl cnts incarnated in written word and capitalising every remaining consonant, Alex Lloyd was operating as PRDCTV. And, what’s more, besides being fervently championed by Jack Barnett was making a darn good stab of this whole murky electronica thang. A subtle submitting of the proverbial deed poll later and Lloyd returned as the Ninja Tune-signed Deco Child, emitting the sunset-shaded smoulderer known as Pray with what seemed an almost irritating ease.
Here sticking with the vocal samples refracted through filters in order that they become indecipherable but for complimentary melody; with the creeping yet always contained sense of euphoria; with the somehow Mediterranean lilt, S&G is a behemoth of hip-skanking beat as crests of overwhelming synth break all around them. For it feels as though once they clash around you you’re thrust under; helplessly submerged in unremitting Elysian surges; deaf to anything and everything else. It’s backed up the altogether more sinister blip of Diamond Drops that more acutely recalls Zomby’s Dedication of yesteryear: caught up in a finicky methodist’s mesh of minimal techno fidget, post-garage skiffle and vocal interjections redolent of the bereft sniffles of a felt-lined Elisabeth Bereford critter mid-mutilation, it’s an ominous savage alright. Getting deep down and broody, in Lloyd it’d appear as though we’ve a worthy adversary to Grimes’ post-modern Visions, the self-purportedly genderless droid with whom he shared some Field Day billage last month. Check his set from then here.’
S&G is out now on Ninja Tune.
