This does not come up easily in a bandcamp search, let me tell you. As a librarian with some cataloguing nous, I suspect the metadata needs to be enhanced somewhat. Fortunately, you now have a handy link here, courtesy of me.
There is much to love with this, and much to resonate with despite the fact he keeps talking about TV and I haven’t watched TV in years. The deadpan vocals over the laid back motorik mid 90s vibe – no, we’re not talking Underworld, though I do like Underworld; it’s a way more hazy approach.
Apparently it was all done over data transfer rather than physical collaboration, yet it sounds very coherent.
People who have read this blog before may well have picked up on my long standing tendency to snark at music journalism, like I’m soooo much cooler (which actually I am, though that is irrelevant). (coolness is and always has been a bullshit concept). (concepts are and always have been over-rated). (this is what happens when writing a blog post is roughly the second conscious thing you do one morning after making a cup of coffee because you’ve remembered you actually get to start work a bit later today because reasons).
So anyway, because music journalists, I really didn’t want to like this album, as it contains man from The Quietus. To be fair to The Quietus, they are actually the least objectionable music publication by some distance, and I even read it sometimes. I hardly ever see the word ‘sophomore’ used when describing a ‘second’ album. This is to be encouraged. Also, other things.
Ponder for a moment what sort of mind listens to an album that he really didn’t want to like. Or don’t. Maybe working from home does funny things to you. Or maybe I actually listened because Tesla Tapes, because Gnod, because I just damn well listened to it.
It’s like nothing I can describe, which isn’t actually unusual in that regard. But it’s also brilliant. All four tracks are very different, and they’re all great.