Does It Look Like I'm Here? (Expanded Remaster )
EMERALDS
Does It Look Like I'm Here? (Expanded Remaster )
Boomkat Product Review:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
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Boomkat Product Review:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
Boomkat Product Review:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
Boomkat Product Review:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
Black 2LP. Contains foldout poster with liner notes by Chris Madak/Bee Mask and download card with bonus tracks.
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:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
Ectomorph colour 2LP (clear with black centre). Contains foldout poster with liner notes by Chris Madak/Bee Mask and download card with bonus tracks.
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:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
2CD includes bonus tracks and Daphni mixes.
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:
Cleveland neo-kosmische outfit Emeralds broke free of the underground in 2010 with the hallucinatory Editions Mego-released 'Does it Look Like I'm Here?', now been remastered and bumped up with seven additional tracks, including two Daphne remixes.
Before 'Does is Look Like I'm Here?', Emeralds were a cult phenomenon, notching up accolades from blogs, fanzines and the cross-Atlantic DIY circuit and quietly inspiring a legion of noisemakers to trade their distortion pedals for monosynths, modular rigs and delay units. Alongside Oneohtrix Point Never, they prompted a wave of millennial interest in kosmische music (Deuter, Klaus Schulze, Cluster et al) that's still present today, so when they released this album it came as something of a shock. Gone was the pillowy, lysergic dream-drone of their debut full-length 'Solar Bridge' and their dizzying run of tapes and splits, replaced by a hybrid analog-digital assembly of glittering synth sequences and memorable sci-fi thematics. The lo-fi recording processes that the band had made their calling card were now in the distant past, and shades of more contemporary dance sounds, IDM and '80s digital minimalism, recorded with a glossy sheen, was now the focus.
Opening track 'Candy Shoppe' still sounds pleasantly jarring, with Mark McGuire's distorted Manuel Göttsching-inspired guitar phrases meshing into Steve Hauschildt and John Elliott's playful arpeggios and pads. It's the relative cleanness of the production that felt unusual at the time, but after the final album before their hiatus - 2012's 'Just To Feel Anything' - it sounds perfectly in line with their evolution. Tracks like the rousing 'Double Helix' and epic 'Genetic' are as good as anything in the band's catalog, propelling their cadre of Berlin school influences into a neon cloud of '80s Americana - as sweet as a gas station Twinkie at 4am and as salty as delivery pizza. The additional material does a lot to fill in the gaps in the catalog: there's a brilliant, almost half-hour long "rehearsal" version of 'Genetic' that drags the composition through rockier territory, bubbling over into buzzing, dissociated synth noise, serrated guitar and a jubilant, reverberant finale, and a placid extended version of their 2010 Wagon-released track 'August'.
'Escape Wheel' meanwhile captures their less bombastic, more pensive mood, and the brief, synth-forward experiments 'In Love' and 'Lake Effect Snow' offer plenty of nourishment for fans of the trio's early cassette run. Then just to finish it all off, Daphni's two proggy remixes of the album's title track, released back in 2012 on his own Jiaolong label, are tacked onto the end for luck.
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