Tanum Volume One
Klaus (aka South London-based producer Nick Sigsworth), compiles all his Tanum 12"s to date on this first anthology. RIYL Airhead, Burial, Pole.
Since debuting on R&S with the Mount Kimbie-cosigned 'Tusk' back in 2011, Sigsworth has opted to keep his output closer to his chest, releasing a steady flow of two-track 12"s that re-examine bass music thru an ambient lens. The set, which Sigsworth explains in a press release is bringing one chapter to an end to light the way for the next, is bookended by the series' two clubbiest excursions, 2012's reductionist 'Neph/Phi' that sound like Burial jamming with Airhead, and 2021's more rugged 'Sabz/Qua', a blurry 2-step hybrid that's one part Wasteland and one part Source Direct, plus a cinematic fast-slow flex that dips into Photek territory, with nervous drums, rainy atmospheres and eerily timestretched vocal snips.
Linking these tracks together are a sequence of ambient dub excursions that push Sigsworth minimalism to its limits. He barely lets his loping rhythm pass through the stifled, cinematic ambience and powdery noise on 'Strafe', and on 'Tele', he echoes Stefan Betke's earliest, most crucial Pole material, interrupting rhythmic flurries with aborted pads and downsampled echoes. There's an air of Basinski to 'Luc', with decaying piano loops and ominous clock chimes, while 'Cry Tuff' juxtaposes the vinyl crackle and radio static with subby thuds, just to remind us what we're listening to.
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Klaus (aka South London-based producer Nick Sigsworth), compiles all his Tanum 12"s to date on this first anthology. RIYL Airhead, Burial, Pole.
Since debuting on R&S with the Mount Kimbie-cosigned 'Tusk' back in 2011, Sigsworth has opted to keep his output closer to his chest, releasing a steady flow of two-track 12"s that re-examine bass music thru an ambient lens. The set, which Sigsworth explains in a press release is bringing one chapter to an end to light the way for the next, is bookended by the series' two clubbiest excursions, 2012's reductionist 'Neph/Phi' that sound like Burial jamming with Airhead, and 2021's more rugged 'Sabz/Qua', a blurry 2-step hybrid that's one part Wasteland and one part Source Direct, plus a cinematic fast-slow flex that dips into Photek territory, with nervous drums, rainy atmospheres and eerily timestretched vocal snips.
Linking these tracks together are a sequence of ambient dub excursions that push Sigsworth minimalism to its limits. He barely lets his loping rhythm pass through the stifled, cinematic ambience and powdery noise on 'Strafe', and on 'Tele', he echoes Stefan Betke's earliest, most crucial Pole material, interrupting rhythmic flurries with aborted pads and downsampled echoes. There's an air of Basinski to 'Luc', with decaying piano loops and ominous clock chimes, while 'Cry Tuff' juxtaposes the vinyl crackle and radio static with subby thuds, just to remind us what we're listening to.
Klaus (aka South London-based producer Nick Sigsworth), compiles all his Tanum 12"s to date on this first anthology. RIYL Airhead, Burial, Pole.
Since debuting on R&S with the Mount Kimbie-cosigned 'Tusk' back in 2011, Sigsworth has opted to keep his output closer to his chest, releasing a steady flow of two-track 12"s that re-examine bass music thru an ambient lens. The set, which Sigsworth explains in a press release is bringing one chapter to an end to light the way for the next, is bookended by the series' two clubbiest excursions, 2012's reductionist 'Neph/Phi' that sound like Burial jamming with Airhead, and 2021's more rugged 'Sabz/Qua', a blurry 2-step hybrid that's one part Wasteland and one part Source Direct, plus a cinematic fast-slow flex that dips into Photek territory, with nervous drums, rainy atmospheres and eerily timestretched vocal snips.
Linking these tracks together are a sequence of ambient dub excursions that push Sigsworth minimalism to its limits. He barely lets his loping rhythm pass through the stifled, cinematic ambience and powdery noise on 'Strafe', and on 'Tele', he echoes Stefan Betke's earliest, most crucial Pole material, interrupting rhythmic flurries with aborted pads and downsampled echoes. There's an air of Basinski to 'Luc', with decaying piano loops and ominous clock chimes, while 'Cry Tuff' juxtaposes the vinyl crackle and radio static with subby thuds, just to remind us what we're listening to.
Klaus (aka South London-based producer Nick Sigsworth), compiles all his Tanum 12"s to date on this first anthology. RIYL Airhead, Burial, Pole.
Since debuting on R&S with the Mount Kimbie-cosigned 'Tusk' back in 2011, Sigsworth has opted to keep his output closer to his chest, releasing a steady flow of two-track 12"s that re-examine bass music thru an ambient lens. The set, which Sigsworth explains in a press release is bringing one chapter to an end to light the way for the next, is bookended by the series' two clubbiest excursions, 2012's reductionist 'Neph/Phi' that sound like Burial jamming with Airhead, and 2021's more rugged 'Sabz/Qua', a blurry 2-step hybrid that's one part Wasteland and one part Source Direct, plus a cinematic fast-slow flex that dips into Photek territory, with nervous drums, rainy atmospheres and eerily timestretched vocal snips.
Linking these tracks together are a sequence of ambient dub excursions that push Sigsworth minimalism to its limits. He barely lets his loping rhythm pass through the stifled, cinematic ambience and powdery noise on 'Strafe', and on 'Tele', he echoes Stefan Betke's earliest, most crucial Pole material, interrupting rhythmic flurries with aborted pads and downsampled echoes. There's an air of Basinski to 'Luc', with decaying piano loops and ominous clock chimes, while 'Cry Tuff' juxtaposes the vinyl crackle and radio static with subby thuds, just to remind us what we're listening to.
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Klaus (aka South London-based producer Nick Sigsworth), compiles all his Tanum 12"s to date on this first anthology. RIYL Airhead, Burial, Pole.
Since debuting on R&S with the Mount Kimbie-cosigned 'Tusk' back in 2011, Sigsworth has opted to keep his output closer to his chest, releasing a steady flow of two-track 12"s that re-examine bass music thru an ambient lens. The set, which Sigsworth explains in a press release is bringing one chapter to an end to light the way for the next, is bookended by the series' two clubbiest excursions, 2012's reductionist 'Neph/Phi' that sound like Burial jamming with Airhead, and 2021's more rugged 'Sabz/Qua', a blurry 2-step hybrid that's one part Wasteland and one part Source Direct, plus a cinematic fast-slow flex that dips into Photek territory, with nervous drums, rainy atmospheres and eerily timestretched vocal snips.
Linking these tracks together are a sequence of ambient dub excursions that push Sigsworth minimalism to its limits. He barely lets his loping rhythm pass through the stifled, cinematic ambience and powdery noise on 'Strafe', and on 'Tele', he echoes Stefan Betke's earliest, most crucial Pole material, interrupting rhythmic flurries with aborted pads and downsampled echoes. There's an air of Basinski to 'Luc', with decaying piano loops and ominous clock chimes, while 'Cry Tuff' juxtaposes the vinyl crackle and radio static with subby thuds, just to remind us what we're listening to.