Boomkat Product Review:
Totally beguiling suite of pew-rocking Back To Church recordings, backed with two abstract Untitled parts mixing Ghanaian vox and abstract electronics, from Ghanaian Londoner Larry Achiampong.
As intended with the cover art - a photographic image of patterned textiles without any names or credits whatsoever - Achiampong’s 3rd LP is perhaps best approached with out any prior knowledge, so we’ve maybe already spoilt it for you, but with good intentions for anyone else curious who needs a bit more to go off.
Basically the front side is given to three recordings of the congregation at Christ Reformed Church in Peckham, singing in swaying harmony and accompanied by woodblock percussions and rattlers, which really pick a groove when they get going. It doesn’t appear that the relatively young artist is part of the recordings, and is possibly more an observer presenting an entrancing snapshot of the West African diaspora in modern day London.
In contrast, the flipside pairs starker, echoic vocals underlined with subtle synth work, oscillating between reverberant room recording and dense fluctuating waves of harmonised pressure in the first part, coming off like the mystic original B-side to Klein’s Only but performed and mixed by Áine O’Dwyer, a comparison which also serve to illustrate the proceeding piece of hazy organ cadence laced with almost doomy vocals, like Dean Blunt conducting a xanax’d Coby Sey and Alexei Tegin.
One of the maddest slabs we’ve heard in a minute.