CHRIS ABRAHAMS
Thrown
Boomkat Product Review:
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
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Boomkat Product Review:
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
Boomkat Product Review:
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
Boomkat Product Review:
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
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Matte laminate embossed sleeve, insert card. Fully remastered audio.
Boomkat Product Review:
A standout in Chris Abrahams’ (The Necks) catalogue from 2005 returns for a 16th anniversary reissue reminder of its supremely odd organ and DX7 whorls.
Sketched out on his trusty piano, plus a positive organ (small portable organ), and spattered with DX7 scree, ‘Thrown’ is Abrahams 5th solo LP since his landmark debut ‘Piano’ (1985) and sees him veer off at angles from his previous works. It’s far more succinct than its sprawling double disc predecessor ‘Streaming’, and also more explicitly electronic, creating a bewildering tension between physical haptics and digital synthesis that really prizes a strange and surreal sort of sensuality, at times OOBE-like and at others remarkably recalling the pure electronic oddness of another Aussie resident, NYZ (although afaik there’s no tangible links between the two.)
Future-proofed by its unusual combination of tones from archaic and contemporary machines, the tracks variously and brilliantly buckle any timeframe you may chuck at it. ‘Bellicose’ sounds out something like a medieval psychedelia that wouldn’t sound out of place i a scene from ‘A Field In England’, and he really gets us with the reeling keys and subtly keening dissonance of ‘Remembrancer’, while ‘Coins In Vinegar’ could almost be the result of a complex synth system set up and animated by Dave Burrston, and the wickedly zonked drone of ‘Car Park Land’ makes our eyes go funny.
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