Acre
Better Strangers
Boomkat Product Review:
Acre rolls his debut album into place on Tectonic after a string of appearances alongside Filter Dread, FIS and Hodge on various split 12"'s in 2015.
In case you haven't been paying attention, Acre has been pushing a salty take on new UK styles since 2013, releasing a stream of singles with Visionist's (Lost) Codes, Pinch's Cold Recordings, and his own Project 13 MCR - the label wing of the excellent, eponymous clubnight.
His debut album, 'Better Strangers' is a real sore thumb amidst the Tectonic catalogue, far more concerned with biting-point high end registers and crooked, rhythms rather than neatly resolving dancefloor patterns and pressure.
That's not to say it doesn't work the 'floor - the squirming dis-figure of 'Jouska' and twysted, discordant sublow styles of 'Spiral', or the beat-em-up sequences of 'Ruby Tiers' do that with unique style - but for the most it's frankly "Too F**ked to Dance" as A Guy Called Gerald once eloquently put it.
It's much better suited to soundtrack sofa trips and headphone skulks, all the better to absorb its jagged, psychoactive textures and tone in the Zomby-like zig-zag of 'Always Crashing', explore the cranky loops of 'Don't Talk', or get inside the refractive R&B dimensions of 'Holding Hands' and the sore ambient pop of the title track.
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Boomkat Product Review:
Acre rolls his debut album into place on Tectonic after a string of appearances alongside Filter Dread, FIS and Hodge on various split 12"'s in 2015.
In case you haven't been paying attention, Acre has been pushing a salty take on new UK styles since 2013, releasing a stream of singles with Visionist's (Lost) Codes, Pinch's Cold Recordings, and his own Project 13 MCR - the label wing of the excellent, eponymous clubnight.
His debut album, 'Better Strangers' is a real sore thumb amidst the Tectonic catalogue, far more concerned with biting-point high end registers and crooked, rhythms rather than neatly resolving dancefloor patterns and pressure.
That's not to say it doesn't work the 'floor - the squirming dis-figure of 'Jouska' and twysted, discordant sublow styles of 'Spiral', or the beat-em-up sequences of 'Ruby Tiers' do that with unique style - but for the most it's frankly "Too F**ked to Dance" as A Guy Called Gerald once eloquently put it.
It's much better suited to soundtrack sofa trips and headphone skulks, all the better to absorb its jagged, psychoactive textures and tone in the Zomby-like zig-zag of 'Always Crashing', explore the cranky loops of 'Don't Talk', or get inside the refractive R&B dimensions of 'Holding Hands' and the sore ambient pop of the title track.
Boomkat Product Review:
Acre rolls his debut album into place on Tectonic after a string of appearances alongside Filter Dread, FIS and Hodge on various split 12"'s in 2015.
In case you haven't been paying attention, Acre has been pushing a salty take on new UK styles since 2013, releasing a stream of singles with Visionist's (Lost) Codes, Pinch's Cold Recordings, and his own Project 13 MCR - the label wing of the excellent, eponymous clubnight.
His debut album, 'Better Strangers' is a real sore thumb amidst the Tectonic catalogue, far more concerned with biting-point high end registers and crooked, rhythms rather than neatly resolving dancefloor patterns and pressure.
That's not to say it doesn't work the 'floor - the squirming dis-figure of 'Jouska' and twysted, discordant sublow styles of 'Spiral', or the beat-em-up sequences of 'Ruby Tiers' do that with unique style - but for the most it's frankly "Too F**ked to Dance" as A Guy Called Gerald once eloquently put it.
It's much better suited to soundtrack sofa trips and headphone skulks, all the better to absorb its jagged, psychoactive textures and tone in the Zomby-like zig-zag of 'Always Crashing', explore the cranky loops of 'Don't Talk', or get inside the refractive R&B dimensions of 'Holding Hands' and the sore ambient pop of the title track.
Boomkat Product Review:
Acre rolls his debut album into place on Tectonic after a string of appearances alongside Filter Dread, FIS and Hodge on various split 12"'s in 2015.
In case you haven't been paying attention, Acre has been pushing a salty take on new UK styles since 2013, releasing a stream of singles with Visionist's (Lost) Codes, Pinch's Cold Recordings, and his own Project 13 MCR - the label wing of the excellent, eponymous clubnight.
His debut album, 'Better Strangers' is a real sore thumb amidst the Tectonic catalogue, far more concerned with biting-point high end registers and crooked, rhythms rather than neatly resolving dancefloor patterns and pressure.
That's not to say it doesn't work the 'floor - the squirming dis-figure of 'Jouska' and twysted, discordant sublow styles of 'Spiral', or the beat-em-up sequences of 'Ruby Tiers' do that with unique style - but for the most it's frankly "Too F**ked to Dance" as A Guy Called Gerald once eloquently put it.
It's much better suited to soundtrack sofa trips and headphone skulks, all the better to absorb its jagged, psychoactive textures and tone in the Zomby-like zig-zag of 'Always Crashing', explore the cranky loops of 'Don't Talk', or get inside the refractive R&B dimensions of 'Holding Hands' and the sore ambient pop of the title track.
Vinyl Edition Finally Available.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Acre rolls his debut album into place on Tectonic after a string of appearances alongside Filter Dread, FIS and Hodge on various split 12"'s in 2015.
In case you haven't been paying attention, Acre has been pushing a salty take on new UK styles since 2013, releasing a stream of singles with Visionist's (Lost) Codes, Pinch's Cold Recordings, and his own Project 13 MCR - the label wing of the excellent, eponymous clubnight.
His debut album, 'Better Strangers' is a real sore thumb amidst the Tectonic catalogue, far more concerned with biting-point high end registers and crooked, rhythms rather than neatly resolving dancefloor patterns and pressure.
That's not to say it doesn't work the 'floor - the squirming dis-figure of 'Jouska' and twysted, discordant sublow styles of 'Spiral', or the beat-em-up sequences of 'Ruby Tiers' do that with unique style - but for the most it's frankly "Too F**ked to Dance" as A Guy Called Gerald once eloquently put it.
It's much better suited to soundtrack sofa trips and headphone skulks, all the better to absorb its jagged, psychoactive textures and tone in the Zomby-like zig-zag of 'Always Crashing', explore the cranky loops of 'Don't Talk', or get inside the refractive R&B dimensions of 'Holding Hands' and the sore ambient pop of the title track.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Acre rolls his debut album into place on Tectonic after a string of appearances alongside Filter Dread, FIS and Hodge on various split 12"'s in 2015.
In case you haven't been paying attention, Acre has been pushing a salty take on new UK styles since 2013, releasing a stream of singles with Visionist's (Lost) Codes, Pinch's Cold Recordings, and his own Project 13 MCR - the label wing of the excellent, eponymous clubnight.
His debut album, 'Better Strangers' is a real sore thumb amidst the Tectonic catalogue, far more concerned with biting-point high end registers and crooked, rhythms rather than neatly resolving dancefloor patterns and pressure.
That's not to say it doesn't work the 'floor - the squirming dis-figure of 'Jouska' and twysted, discordant sublow styles of 'Spiral', or the beat-em-up sequences of 'Ruby Tiers' do that with unique style - but for the most it's frankly "Too F**ked to Dance" as A Guy Called Gerald once eloquently put it.
It's much better suited to soundtrack sofa trips and headphone skulks, all the better to absorb its jagged, psychoactive textures and tone in the Zomby-like zig-zag of 'Always Crashing', explore the cranky loops of 'Don't Talk', or get inside the refractive R&B dimensions of 'Holding Hands' and the sore ambient pop of the title track.
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