Boomkat Product Review:
After superb turns with Blackhaine and Pavel Milyakov, Richie Culver serves a 2nd solo side of oblique madness in jagged, K-holing loops, funereal keys and field recording collisions lodged somewhere between Nicholas Collins and Mark Leckey.
‘FOBT’s Cradle’ depicts the Culver following his nose for the uncanny and wyrd, cutting up samples of weirdos alongside eerier schisms of playgrounds strewn with smashed glass, and a pointed jab at the oddness of co-working spaces. Squirming in the space between sound poetry and collage, the work appears to us as a personal expression of a refusenik mind drawn to outsider music.
For reference it feels less spangled than Leckey, more on the edge of a nervous breakdown in the A-side’s use of what sounds like a gadge ranting on the bus about “fuck Jesus”, while Richie appears to suck a Nos balloon/huff K and lock into intensifying feedback loops while the bloke carries on, eventually spilling off the bus to scenes of kids and hyperreal birds frolicking in a municipal recreational ground littered with shards of glass. His B-side is no less unflinching in its reading of the contemporary, with ‘Co-Working Space’ transitioning from cold metallic clangour to keys like Áine O’Dwyer’s ‘Music For Cleaners’ played on a janky Joanna in a mildewed church hall.
An uneasy, voyeuristic pleasure for those who like it raw as fuck.