Boomkat Product Review:
Craig Leon's incredible 'Nommos' is a hugely sought-after artefact from the crucible of New York's early '80s post-punk scene, first released somewhat incongruously on John Fahey's Takoma label in 1981. While well known to diggers such as Julian Cope, whose Head Heritage hailed it as "the missing link between the proto-industrial rhythm and drone of Suicide and whole minimalist drone / static / repetition method of Terry Riley and La Monte Young", it largely eluded the rest of us until a natty bootleg issue crept outta Glasgow in 2011 and veritably tore the head of all those lucky enough to nab a copy. Now given a proper remaster, and presented with the original Takoma artwork, one of the most fascinating records we've ever heard has just got even better, crossing paths between motorik Afro-futurist rhythm, hypnotic vortices and ecstatic, visceral synth noise with lysergically heightened clarity. The closest comparisons we could draw range from the furthest studio works of Bruce Gilbert and co's Dome studio, to Leon's own early work on Suicide's debut album or the keenly minimal efficiency of Conny Plank and German innovators such as Cluster. Yet, its wayward arrangements, galvanised percussions and feel for electrifying dissonance marks it out as a genuine anomaly, and light years away from the likes of The Ramones or Blondie, whom Leon also produced during this era. It's nothing short of a minor masterpiece, one of those records you'll return to time and again, and practically guaranteed to leave you with a mind on fire.