Boomkat Product Review:
Mindbendingly psychedelic synth and voice experiments that trip between GRM or Radiophonic weirdness and k-hole inducing dancefloor chaos. Solidly out there, in the best possible way > think Lee Gamble, aya, Actress or The Focus Group.
Georgie McVicar's debut album is about words. "Tiny Grassland" comes with a book that's intended to be read as you listen, but even without that, listening carefully reveals words stitched beneath the woozy synths and disjointed beats. Chopped from audiobooks and TV shows, these voices remind us that we're surrounded by words, rooting the music in a reality that's built on meaning, repetition and nuance.
On 'In Transports of Joy', a voice can be just about heard behind the time-dilating synth that flicks rhythmically from left to right; it might be chopped and effected, but it's hard to hear - you just know it's there. As the voices get louder, a fractured breakbeat matches the intensity, obscuring them even further.
The voices are easier to place on 'Live Stills', with discernibly British tones whispering over microtuned synth washes. It's an experimental sound that nestles between the overt nostalgia of Boards of Canada and the outerzone frequency experiments of the Mego set, but with chopped bass and fluttering synths there's also an air of Rabit and Logos' sublime weightless productions. 'Woodshadows' meanwhile calms the voices into ketamine mumbles while an Actress-esque slithering beat maneuvers overhead.
The clear highlight is 'Funeral Games', ditching the synthesis altogether. Instead we're greeted with a hi-bpm echo'd rhythmic clonk that sounds like a rolling gabber kick heard thru the bathroom wall after a brain-breakingly heavy sesh. McVicar proves their skill in recreating a mood rather than a sound, and accurately captures an emotional state that's often hinted at but rarely illustrated with such honesty. Seriously good stuff.