Objects Limited boss Lara Rix-Martin plays with gender, class and rave nostalgia on her latest amen-powered full-length.
Last year's dense "Neon Genesis: Soul Into Matter²" was a heady affair, but its follow-up ditches the "pseudo-intellectualism" for air horns and pingers, dropping club deconstruction in favor of rave reconstruction. It works too, Rix-Martin was inspired by a show in Spain as lockdown was beginning to subside, and remembered how the music wasn't just important to her, but to the people around her. On "Loverboy" she remembers the music that inspired her, from Autechre and Shitmat to Orbital and A Guy Called Gerald, injecting casual humor and MDMA stories to loosen the mood.
This is a fun one undoubtedly, free of experimental posturing completely. Orbital's shadow hangs over 'Cloudscape' for example, that splays a 'Halcyon' vocal over a pacy break and druggy synths, while 'Whitehawk' veers closer to Squarepusher or AFX, disrupting a funky drummer break with modular blips and foley flushes. The title track is a particular highlight and doesn't take itself too seriously, taping cheeky samples to bouncy hard house synths and ruff 'n ready drum rolls.
View more
Objects Limited boss Lara Rix-Martin plays with gender, class and rave nostalgia on her latest amen-powered full-length.
Last year's dense "Neon Genesis: Soul Into Matter²" was a heady affair, but its follow-up ditches the "pseudo-intellectualism" for air horns and pingers, dropping club deconstruction in favor of rave reconstruction. It works too, Rix-Martin was inspired by a show in Spain as lockdown was beginning to subside, and remembered how the music wasn't just important to her, but to the people around her. On "Loverboy" she remembers the music that inspired her, from Autechre and Shitmat to Orbital and A Guy Called Gerald, injecting casual humor and MDMA stories to loosen the mood.
This is a fun one undoubtedly, free of experimental posturing completely. Orbital's shadow hangs over 'Cloudscape' for example, that splays a 'Halcyon' vocal over a pacy break and druggy synths, while 'Whitehawk' veers closer to Squarepusher or AFX, disrupting a funky drummer break with modular blips and foley flushes. The title track is a particular highlight and doesn't take itself too seriously, taping cheeky samples to bouncy hard house synths and ruff 'n ready drum rolls.
Objects Limited boss Lara Rix-Martin plays with gender, class and rave nostalgia on her latest amen-powered full-length.
Last year's dense "Neon Genesis: Soul Into Matter²" was a heady affair, but its follow-up ditches the "pseudo-intellectualism" for air horns and pingers, dropping club deconstruction in favor of rave reconstruction. It works too, Rix-Martin was inspired by a show in Spain as lockdown was beginning to subside, and remembered how the music wasn't just important to her, but to the people around her. On "Loverboy" she remembers the music that inspired her, from Autechre and Shitmat to Orbital and A Guy Called Gerald, injecting casual humor and MDMA stories to loosen the mood.
This is a fun one undoubtedly, free of experimental posturing completely. Orbital's shadow hangs over 'Cloudscape' for example, that splays a 'Halcyon' vocal over a pacy break and druggy synths, while 'Whitehawk' veers closer to Squarepusher or AFX, disrupting a funky drummer break with modular blips and foley flushes. The title track is a particular highlight and doesn't take itself too seriously, taping cheeky samples to bouncy hard house synths and ruff 'n ready drum rolls.
Objects Limited boss Lara Rix-Martin plays with gender, class and rave nostalgia on her latest amen-powered full-length.
Last year's dense "Neon Genesis: Soul Into Matter²" was a heady affair, but its follow-up ditches the "pseudo-intellectualism" for air horns and pingers, dropping club deconstruction in favor of rave reconstruction. It works too, Rix-Martin was inspired by a show in Spain as lockdown was beginning to subside, and remembered how the music wasn't just important to her, but to the people around her. On "Loverboy" she remembers the music that inspired her, from Autechre and Shitmat to Orbital and A Guy Called Gerald, injecting casual humor and MDMA stories to loosen the mood.
This is a fun one undoubtedly, free of experimental posturing completely. Orbital's shadow hangs over 'Cloudscape' for example, that splays a 'Halcyon' vocal over a pacy break and druggy synths, while 'Whitehawk' veers closer to Squarepusher or AFX, disrupting a funky drummer break with modular blips and foley flushes. The title track is a particular highlight and doesn't take itself too seriously, taping cheeky samples to bouncy hard house synths and ruff 'n ready drum rolls.
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
Objects Limited boss Lara Rix-Martin plays with gender, class and rave nostalgia on her latest amen-powered full-length.
Last year's dense "Neon Genesis: Soul Into Matter²" was a heady affair, but its follow-up ditches the "pseudo-intellectualism" for air horns and pingers, dropping club deconstruction in favor of rave reconstruction. It works too, Rix-Martin was inspired by a show in Spain as lockdown was beginning to subside, and remembered how the music wasn't just important to her, but to the people around her. On "Loverboy" she remembers the music that inspired her, from Autechre and Shitmat to Orbital and A Guy Called Gerald, injecting casual humor and MDMA stories to loosen the mood.
This is a fun one undoubtedly, free of experimental posturing completely. Orbital's shadow hangs over 'Cloudscape' for example, that splays a 'Halcyon' vocal over a pacy break and druggy synths, while 'Whitehawk' veers closer to Squarepusher or AFX, disrupting a funky drummer break with modular blips and foley flushes. The title track is a particular highlight and doesn't take itself too seriously, taping cheeky samples to bouncy hard house synths and ruff 'n ready drum rolls.