Boomkat Product Review:
Following on from the hugely celebrated Surf, Philip Jeck branched out into more elaborate turntable compositions, setting aside the more obviously loop-based textures of his previous work in favour of more amorphous, more vehemently unearthly compositions. 'Above' is an especially fine way to introduce the album, and draws upon discordant surrealist sound clashes, never scrimping on those thick layers of ancient vinyl crackle. Sounding even further removed from its source material, 'Lambing' s almost Fennesz-like in its embracing of electronic soundscape manipulation, weaving a tangled web of seemingly bitcrushed audio and glacially slowed-down ghostly voices. It comes as some surprise then that 'Vienna Faults' springs into motion with a swinging drum pattern, one of the least affected (or perhaps better put, effected) gestures on the album. 'Pax' meanwhile, takes on a faintly spiritual quality by marrying whispered, breeze-like melodies with 16rpm vocal incantations. Returning to the densely layered approach of the album's wonderful opening, the beautifully tactile crackle and manipulated guitar (or possibly sitar?) of 'Below' sound like they've been submerged several fathoms underwater. A distant cousin of this piece, 'Close (appropriately enough) finishes the album off with fifteen minutes of deep echo and muffled, drifting piano.