LCC
Bastet
Boomkat Product Review:
LCC pursue the keening, amorphous designs of the debut LP to surreal and proprioception-probing degrees in Bastet, the Portuguese duo’s 2nd album of dissonant electronic tang and pranging percussions rent in acres of stark negative space.
In terms of rhythm and tone, we can detect a tighter, nuanced approach manifest in the marbled detail and gripping sensitivity of Bastet, which lives up to the enigma of its ancient Egyptian namesake - a goddess of music and female power who coerced humans to entertain her and keep her animalistic urges at bay.
Constructed from recordings made at the esteemed EMS in Stockholm, the Inter Arts Centre of Malmö, and their own studio in Gijón, the results form an organismic interrelation of ideas that resonates with, say, the work of Pharmakon as much as Andy Stott at his brutal and stripped best.
However by dint of their filigree timbral sensitivity and sense of feminine pressure, LCC open their own sort of void inside, most in/tangibly with the inland Empire-esque eeriness of Ib and the ancient bullroarer-like tones that arc over pointillist, latinate drum patterns in Ba, and roll deep into the airborne swagger of Ka.
Impressive.
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Boomkat Product Review:
LCC pursue the keening, amorphous designs of the debut LP to surreal and proprioception-probing degrees in Bastet, the Portuguese duo’s 2nd album of dissonant electronic tang and pranging percussions rent in acres of stark negative space.
In terms of rhythm and tone, we can detect a tighter, nuanced approach manifest in the marbled detail and gripping sensitivity of Bastet, which lives up to the enigma of its ancient Egyptian namesake - a goddess of music and female power who coerced humans to entertain her and keep her animalistic urges at bay.
Constructed from recordings made at the esteemed EMS in Stockholm, the Inter Arts Centre of Malmö, and their own studio in Gijón, the results form an organismic interrelation of ideas that resonates with, say, the work of Pharmakon as much as Andy Stott at his brutal and stripped best.
However by dint of their filigree timbral sensitivity and sense of feminine pressure, LCC open their own sort of void inside, most in/tangibly with the inland Empire-esque eeriness of Ib and the ancient bullroarer-like tones that arc over pointillist, latinate drum patterns in Ba, and roll deep into the airborne swagger of Ka.
Impressive.
Boomkat Product Review:
LCC pursue the keening, amorphous designs of the debut LP to surreal and proprioception-probing degrees in Bastet, the Portuguese duo’s 2nd album of dissonant electronic tang and pranging percussions rent in acres of stark negative space.
In terms of rhythm and tone, we can detect a tighter, nuanced approach manifest in the marbled detail and gripping sensitivity of Bastet, which lives up to the enigma of its ancient Egyptian namesake - a goddess of music and female power who coerced humans to entertain her and keep her animalistic urges at bay.
Constructed from recordings made at the esteemed EMS in Stockholm, the Inter Arts Centre of Malmö, and their own studio in Gijón, the results form an organismic interrelation of ideas that resonates with, say, the work of Pharmakon as much as Andy Stott at his brutal and stripped best.
However by dint of their filigree timbral sensitivity and sense of feminine pressure, LCC open their own sort of void inside, most in/tangibly with the inland Empire-esque eeriness of Ib and the ancient bullroarer-like tones that arc over pointillist, latinate drum patterns in Ba, and roll deep into the airborne swagger of Ka.
Impressive.
Boomkat Product Review:
LCC pursue the keening, amorphous designs of the debut LP to surreal and proprioception-probing degrees in Bastet, the Portuguese duo’s 2nd album of dissonant electronic tang and pranging percussions rent in acres of stark negative space.
In terms of rhythm and tone, we can detect a tighter, nuanced approach manifest in the marbled detail and gripping sensitivity of Bastet, which lives up to the enigma of its ancient Egyptian namesake - a goddess of music and female power who coerced humans to entertain her and keep her animalistic urges at bay.
Constructed from recordings made at the esteemed EMS in Stockholm, the Inter Arts Centre of Malmö, and their own studio in Gijón, the results form an organismic interrelation of ideas that resonates with, say, the work of Pharmakon as much as Andy Stott at his brutal and stripped best.
However by dint of their filigree timbral sensitivity and sense of feminine pressure, LCC open their own sort of void inside, most in/tangibly with the inland Empire-esque eeriness of Ib and the ancient bullroarer-like tones that arc over pointillist, latinate drum patterns in Ba, and roll deep into the airborne swagger of Ka.
Impressive.
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Boomkat Product Review:
LCC pursue the keening, amorphous designs of the debut LP to surreal and proprioception-probing degrees in Bastet, the Portuguese duo’s 2nd album of dissonant electronic tang and pranging percussions rent in acres of stark negative space.
In terms of rhythm and tone, we can detect a tighter, nuanced approach manifest in the marbled detail and gripping sensitivity of Bastet, which lives up to the enigma of its ancient Egyptian namesake - a goddess of music and female power who coerced humans to entertain her and keep her animalistic urges at bay.
Constructed from recordings made at the esteemed EMS in Stockholm, the Inter Arts Centre of Malmö, and their own studio in Gijón, the results form an organismic interrelation of ideas that resonates with, say, the work of Pharmakon as much as Andy Stott at his brutal and stripped best.
However by dint of their filigree timbral sensitivity and sense of feminine pressure, LCC open their own sort of void inside, most in/tangibly with the inland Empire-esque eeriness of Ib and the ancient bullroarer-like tones that arc over pointillist, latinate drum patterns in Ba, and roll deep into the airborne swagger of Ka.
Impressive.
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