Original emosh rave and rap collage from US producer The Range, a bit of an anomaly on Domino, channelling a vein of ‘00s electronica and big stage dance music akin to Jacques Greene, Zomby, early Joy O or Clams Casino
Arriving five years on from acclaim for the ‘Potential’ (2016) album, which saw The Range parse the Internet’s emerging platforms for sampled slivers of human spirit, his follow-up adapts that strategy to a dance-pop sound no doubt primed for big festival and gig stages. Bookended by a pair of aerial breakbeat rave rollers in the very Joy O-esque ‘Bicameral’, and sweeping design of ‘Violet’, the results feel to distill the past decade of emosh dancefloor movements in a way that’s giving us temporal warpage right now, marking a strange sense of detachment from pre-covid times with its streamlined renovation of hip hop electronica a la Clams Casino on ‘1995’, and a Tri Angle-esque turn of witch-house grime on ‘Urethane’, The Weekend-Like R&B soul burn on ‘Ricercar’, and even rounds of ‘Wearing My Rolex’-era electro house on ‘Relegate’, with ‘Every Good Thing’ tapping into that Holy Other style, but with a twist of early Plastikman acid.
Hard to believe we’re feeling nostalgia for the ’00’s and ‘10s, but that’s how it goes in ’22?
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Original emosh rave and rap collage from US producer The Range, a bit of an anomaly on Domino, channelling a vein of ‘00s electronica and big stage dance music akin to Jacques Greene, Zomby, early Joy O or Clams Casino
Arriving five years on from acclaim for the ‘Potential’ (2016) album, which saw The Range parse the Internet’s emerging platforms for sampled slivers of human spirit, his follow-up adapts that strategy to a dance-pop sound no doubt primed for big festival and gig stages. Bookended by a pair of aerial breakbeat rave rollers in the very Joy O-esque ‘Bicameral’, and sweeping design of ‘Violet’, the results feel to distill the past decade of emosh dancefloor movements in a way that’s giving us temporal warpage right now, marking a strange sense of detachment from pre-covid times with its streamlined renovation of hip hop electronica a la Clams Casino on ‘1995’, and a Tri Angle-esque turn of witch-house grime on ‘Urethane’, The Weekend-Like R&B soul burn on ‘Ricercar’, and even rounds of ‘Wearing My Rolex’-era electro house on ‘Relegate’, with ‘Every Good Thing’ tapping into that Holy Other style, but with a twist of early Plastikman acid.
Hard to believe we’re feeling nostalgia for the ’00’s and ‘10s, but that’s how it goes in ’22?
Original emosh rave and rap collage from US producer The Range, a bit of an anomaly on Domino, channelling a vein of ‘00s electronica and big stage dance music akin to Jacques Greene, Zomby, early Joy O or Clams Casino
Arriving five years on from acclaim for the ‘Potential’ (2016) album, which saw The Range parse the Internet’s emerging platforms for sampled slivers of human spirit, his follow-up adapts that strategy to a dance-pop sound no doubt primed for big festival and gig stages. Bookended by a pair of aerial breakbeat rave rollers in the very Joy O-esque ‘Bicameral’, and sweeping design of ‘Violet’, the results feel to distill the past decade of emosh dancefloor movements in a way that’s giving us temporal warpage right now, marking a strange sense of detachment from pre-covid times with its streamlined renovation of hip hop electronica a la Clams Casino on ‘1995’, and a Tri Angle-esque turn of witch-house grime on ‘Urethane’, The Weekend-Like R&B soul burn on ‘Ricercar’, and even rounds of ‘Wearing My Rolex’-era electro house on ‘Relegate’, with ‘Every Good Thing’ tapping into that Holy Other style, but with a twist of early Plastikman acid.
Hard to believe we’re feeling nostalgia for the ’00’s and ‘10s, but that’s how it goes in ’22?
Original emosh rave and rap collage from US producer The Range, a bit of an anomaly on Domino, channelling a vein of ‘00s electronica and big stage dance music akin to Jacques Greene, Zomby, early Joy O or Clams Casino
Arriving five years on from acclaim for the ‘Potential’ (2016) album, which saw The Range parse the Internet’s emerging platforms for sampled slivers of human spirit, his follow-up adapts that strategy to a dance-pop sound no doubt primed for big festival and gig stages. Bookended by a pair of aerial breakbeat rave rollers in the very Joy O-esque ‘Bicameral’, and sweeping design of ‘Violet’, the results feel to distill the past decade of emosh dancefloor movements in a way that’s giving us temporal warpage right now, marking a strange sense of detachment from pre-covid times with its streamlined renovation of hip hop electronica a la Clams Casino on ‘1995’, and a Tri Angle-esque turn of witch-house grime on ‘Urethane’, The Weekend-Like R&B soul burn on ‘Ricercar’, and even rounds of ‘Wearing My Rolex’-era electro house on ‘Relegate’, with ‘Every Good Thing’ tapping into that Holy Other style, but with a twist of early Plastikman acid.
Hard to believe we’re feeling nostalgia for the ’00’s and ‘10s, but that’s how it goes in ’22?
Gatefold LP jacket featuring illustrations by Essy May.
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
Original emosh rave and rap collage from US producer The Range, a bit of an anomaly on Domino, channelling a vein of ‘00s electronica and big stage dance music akin to Jacques Greene, Zomby, early Joy O or Clams Casino
Arriving five years on from acclaim for the ‘Potential’ (2016) album, which saw The Range parse the Internet’s emerging platforms for sampled slivers of human spirit, his follow-up adapts that strategy to a dance-pop sound no doubt primed for big festival and gig stages. Bookended by a pair of aerial breakbeat rave rollers in the very Joy O-esque ‘Bicameral’, and sweeping design of ‘Violet’, the results feel to distill the past decade of emosh dancefloor movements in a way that’s giving us temporal warpage right now, marking a strange sense of detachment from pre-covid times with its streamlined renovation of hip hop electronica a la Clams Casino on ‘1995’, and a Tri Angle-esque turn of witch-house grime on ‘Urethane’, The Weekend-Like R&B soul burn on ‘Ricercar’, and even rounds of ‘Wearing My Rolex’-era electro house on ‘Relegate’, with ‘Every Good Thing’ tapping into that Holy Other style, but with a twist of early Plastikman acid.
Hard to believe we’re feeling nostalgia for the ’00’s and ‘10s, but that’s how it goes in ’22?
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
Original emosh rave and rap collage from US producer The Range, a bit of an anomaly on Domino, channelling a vein of ‘00s electronica and big stage dance music akin to Jacques Greene, Zomby, early Joy O or Clams Casino
Arriving five years on from acclaim for the ‘Potential’ (2016) album, which saw The Range parse the Internet’s emerging platforms for sampled slivers of human spirit, his follow-up adapts that strategy to a dance-pop sound no doubt primed for big festival and gig stages. Bookended by a pair of aerial breakbeat rave rollers in the very Joy O-esque ‘Bicameral’, and sweeping design of ‘Violet’, the results feel to distill the past decade of emosh dancefloor movements in a way that’s giving us temporal warpage right now, marking a strange sense of detachment from pre-covid times with its streamlined renovation of hip hop electronica a la Clams Casino on ‘1995’, and a Tri Angle-esque turn of witch-house grime on ‘Urethane’, The Weekend-Like R&B soul burn on ‘Ricercar’, and even rounds of ‘Wearing My Rolex’-era electro house on ‘Relegate’, with ‘Every Good Thing’ tapping into that Holy Other style, but with a twist of early Plastikman acid.
Hard to believe we’re feeling nostalgia for the ’00’s and ‘10s, but that’s how it goes in ’22?