Keenly awaited volley of IDM/electro/jungle bombs from Lanark Artefax for his Scottish homies at Numbers
Following the body-spinning vectors of his breakthru CD debut and 12”s for UIQ and Whites, ‘Corra Linn’ takes in everything from explosive dancehall-jungle mutations to poignant solo piano to prove that he’s still at the apex of up-to-the-second electronica.
The title cut is a scything stroke of slow/fast jungle meters synched with powerfully sculpted FM synthesis and spine-freezing choral arrangement in a style shades away from Lee Gamble, while the asymmetric electro-funk swagger of ‘Moo Orphaned Drift’ makes a crafty nod (whether intended or not, we’re not sure) to the cybernetic futurism of Mer Maggie Roberts’ ‘90s project in title and aesthetic, leaving a sharp contrast to ‘Ferthenheap’ which heads in the opposite direction entirely with a haunting solo piano performance interjected by AI coughs and distant choral sighs.
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Keenly awaited volley of IDM/electro/jungle bombs from Lanark Artefax for his Scottish homies at Numbers
Following the body-spinning vectors of his breakthru CD debut and 12”s for UIQ and Whites, ‘Corra Linn’ takes in everything from explosive dancehall-jungle mutations to poignant solo piano to prove that he’s still at the apex of up-to-the-second electronica.
The title cut is a scything stroke of slow/fast jungle meters synched with powerfully sculpted FM synthesis and spine-freezing choral arrangement in a style shades away from Lee Gamble, while the asymmetric electro-funk swagger of ‘Moo Orphaned Drift’ makes a crafty nod (whether intended or not, we’re not sure) to the cybernetic futurism of Mer Maggie Roberts’ ‘90s project in title and aesthetic, leaving a sharp contrast to ‘Ferthenheap’ which heads in the opposite direction entirely with a haunting solo piano performance interjected by AI coughs and distant choral sighs.
Keenly awaited volley of IDM/electro/jungle bombs from Lanark Artefax for his Scottish homies at Numbers
Following the body-spinning vectors of his breakthru CD debut and 12”s for UIQ and Whites, ‘Corra Linn’ takes in everything from explosive dancehall-jungle mutations to poignant solo piano to prove that he’s still at the apex of up-to-the-second electronica.
The title cut is a scything stroke of slow/fast jungle meters synched with powerfully sculpted FM synthesis and spine-freezing choral arrangement in a style shades away from Lee Gamble, while the asymmetric electro-funk swagger of ‘Moo Orphaned Drift’ makes a crafty nod (whether intended or not, we’re not sure) to the cybernetic futurism of Mer Maggie Roberts’ ‘90s project in title and aesthetic, leaving a sharp contrast to ‘Ferthenheap’ which heads in the opposite direction entirely with a haunting solo piano performance interjected by AI coughs and distant choral sighs.
Keenly awaited volley of IDM/electro/jungle bombs from Lanark Artefax for his Scottish homies at Numbers
Following the body-spinning vectors of his breakthru CD debut and 12”s for UIQ and Whites, ‘Corra Linn’ takes in everything from explosive dancehall-jungle mutations to poignant solo piano to prove that he’s still at the apex of up-to-the-second electronica.
The title cut is a scything stroke of slow/fast jungle meters synched with powerfully sculpted FM synthesis and spine-freezing choral arrangement in a style shades away from Lee Gamble, while the asymmetric electro-funk swagger of ‘Moo Orphaned Drift’ makes a crafty nod (whether intended or not, we’re not sure) to the cybernetic futurism of Mer Maggie Roberts’ ‘90s project in title and aesthetic, leaving a sharp contrast to ‘Ferthenheap’ which heads in the opposite direction entirely with a haunting solo piano performance interjected by AI coughs and distant choral sighs.
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Keenly awaited volley of IDM/electro/jungle bombs from Lanark Artefax for his Scottish homies at Numbers
Following the body-spinning vectors of his breakthru CD debut and 12”s for UIQ and Whites, ‘Corra Linn’ takes in everything from explosive dancehall-jungle mutations to poignant solo piano to prove that he’s still at the apex of up-to-the-second electronica.
The title cut is a scything stroke of slow/fast jungle meters synched with powerfully sculpted FM synthesis and spine-freezing choral arrangement in a style shades away from Lee Gamble, while the asymmetric electro-funk swagger of ‘Moo Orphaned Drift’ makes a crafty nod (whether intended or not, we’re not sure) to the cybernetic futurism of Mer Maggie Roberts’ ‘90s project in title and aesthetic, leaving a sharp contrast to ‘Ferthenheap’ which heads in the opposite direction entirely with a haunting solo piano performance interjected by AI coughs and distant choral sighs.