Overlooked downbeat, acid and broken beat evergreens from the back of the ‘90s sofa resurface on 1st vinyl reissue in a new Swiss edition of Ultramarine’s sore thumb from a strange gooch in their catalogue
Upon its first release in 1998, ‘A User’s Guide’ was the end of an era for London and Essex duo Ian Cooper & Paul Hammond, marking a break from collab-laden, semi-acoustic chill out for LTM and Blanco Y Negro, to a custom-built sound that better chimed with couch-ready AI, acid jazzy trip hop, and emerging electronica mutations, somewhere in the imagination between Plaid and AFX, Mo Wax and Herbert.
Times and trends moved quicker back then, and New Electronica, who issued the cult album on vinyl and CD, would soon be defunct after its release, leading to scarcity on the market, whilst Ultramarine went on hiatus for more than a decade. But the album remains a strangely charming artefact of its era, and worthy of reinvestigation via Geneva’s WRWTFWW. Resplendent in remaster by Jason @ Transition, it still seduces and snags in all the right and curious places.
Offbeat, off-peak DJs will get theirs in the set’s more up and stepping groovers, such as the Analord-esque wobble of ’Surfacing’, the Herbert-like trot of ‘Zombie’, electro-jazz swivel of ‘By Turns’, and a superbly deep and trippy workouts ‘Ambush’ and ‘What Machines Want’, whilst beat freaks will be in their element in the clipped slow/fast strut of ’On The Brink’, and a well tucked ‘Ghost Routine’ which sound slick it could have been on the ‘Jam’ soundtrack.
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Overlooked downbeat, acid and broken beat evergreens from the back of the ‘90s sofa resurface on 1st vinyl reissue in a new Swiss edition of Ultramarine’s sore thumb from a strange gooch in their catalogue
Upon its first release in 1998, ‘A User’s Guide’ was the end of an era for London and Essex duo Ian Cooper & Paul Hammond, marking a break from collab-laden, semi-acoustic chill out for LTM and Blanco Y Negro, to a custom-built sound that better chimed with couch-ready AI, acid jazzy trip hop, and emerging electronica mutations, somewhere in the imagination between Plaid and AFX, Mo Wax and Herbert.
Times and trends moved quicker back then, and New Electronica, who issued the cult album on vinyl and CD, would soon be defunct after its release, leading to scarcity on the market, whilst Ultramarine went on hiatus for more than a decade. But the album remains a strangely charming artefact of its era, and worthy of reinvestigation via Geneva’s WRWTFWW. Resplendent in remaster by Jason @ Transition, it still seduces and snags in all the right and curious places.
Offbeat, off-peak DJs will get theirs in the set’s more up and stepping groovers, such as the Analord-esque wobble of ’Surfacing’, the Herbert-like trot of ‘Zombie’, electro-jazz swivel of ‘By Turns’, and a superbly deep and trippy workouts ‘Ambush’ and ‘What Machines Want’, whilst beat freaks will be in their element in the clipped slow/fast strut of ’On The Brink’, and a well tucked ‘Ghost Routine’ which sound slick it could have been on the ‘Jam’ soundtrack.
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Overlooked downbeat, acid and broken beat evergreens from the back of the ‘90s sofa resurface on 1st vinyl reissue in a new Swiss edition of Ultramarine’s sore thumb from a strange gooch in their catalogue
Upon its first release in 1998, ‘A User’s Guide’ was the end of an era for London and Essex duo Ian Cooper & Paul Hammond, marking a break from collab-laden, semi-acoustic chill out for LTM and Blanco Y Negro, to a custom-built sound that better chimed with couch-ready AI, acid jazzy trip hop, and emerging electronica mutations, somewhere in the imagination between Plaid and AFX, Mo Wax and Herbert.
Times and trends moved quicker back then, and New Electronica, who issued the cult album on vinyl and CD, would soon be defunct after its release, leading to scarcity on the market, whilst Ultramarine went on hiatus for more than a decade. But the album remains a strangely charming artefact of its era, and worthy of reinvestigation via Geneva’s WRWTFWW. Resplendent in remaster by Jason @ Transition, it still seduces and snags in all the right and curious places.
Offbeat, off-peak DJs will get theirs in the set’s more up and stepping groovers, such as the Analord-esque wobble of ’Surfacing’, the Herbert-like trot of ‘Zombie’, electro-jazz swivel of ‘By Turns’, and a superbly deep and trippy workouts ‘Ambush’ and ‘What Machines Want’, whilst beat freaks will be in their element in the clipped slow/fast strut of ’On The Brink’, and a well tucked ‘Ghost Routine’ which sound slick it could have been on the ‘Jam’ soundtrack.