HELM
World In Action
Boomkat Product Review:
Sorely gripping turn from Luke Younger’s Helm for TTT, written in response to the blockbuster tragicomedy, Brexit, and bolstered by the searching percussion of Tomaga and Raime’s Valentina Magaletti.
Following the ambient-rhythmic-noise course of his Olympic Mess LP and his heat-warped Rawabet instalments, World In Action finds Helm farther downstream at a turbulent confluence of both those sides’ aesthetics, sifting out a panicked and anxious sound where it feels as though he’s practically treading water to keep his head above the chaos.
Incorporating the vital, free-roaming percussive suss of Valentina, who props up what is perhaps one of the rhythmic achilles heel of Helm’s music, World In Action makes a nod to the ‘80s/‘90s current affairs TV programme of the same title in its sleeve artwork and centre labels depicting their ident, Da Vinci’s Vitruvian Man, perhaps amounting a sort of hauntological elegy for the British popular intellect and sense of proportionality.
An impressionistic distillation of the times, on World In Action Younger layers and interrogates a number of studio and field recordings made in East London, South-East Kent and at Snaresbrook Crown Court to form his own personal echo chamber of claggy clangour and worried sax scrabble, oscillating between impenetrable skronk and wistful spiritual jazz motifs in the opening Blue Scene, to dwell on a push-and-pull of vintage 8-bit sonics and deconstructed techno with Candy, whereas World In Action itself is a determined trudge through barbed and murderously noxious levels of polluted atmospheres, then effectively ripping the rug from under your feet and pirouetting in freefall with After Dark.
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Boomkat Product Review:
Sorely gripping turn from Luke Younger’s Helm for TTT, written in response to the blockbuster tragicomedy, Brexit, and bolstered by the searching percussion of Tomaga and Raime’s Valentina Magaletti.
Following the ambient-rhythmic-noise course of his Olympic Mess LP and his heat-warped Rawabet instalments, World In Action finds Helm farther downstream at a turbulent confluence of both those sides’ aesthetics, sifting out a panicked and anxious sound where it feels as though he’s practically treading water to keep his head above the chaos.
Incorporating the vital, free-roaming percussive suss of Valentina, who props up what is perhaps one of the rhythmic achilles heel of Helm’s music, World In Action makes a nod to the ‘80s/‘90s current affairs TV programme of the same title in its sleeve artwork and centre labels depicting their ident, Da Vinci’s Vitruvian Man, perhaps amounting a sort of hauntological elegy for the British popular intellect and sense of proportionality.
An impressionistic distillation of the times, on World In Action Younger layers and interrogates a number of studio and field recordings made in East London, South-East Kent and at Snaresbrook Crown Court to form his own personal echo chamber of claggy clangour and worried sax scrabble, oscillating between impenetrable skronk and wistful spiritual jazz motifs in the opening Blue Scene, to dwell on a push-and-pull of vintage 8-bit sonics and deconstructed techno with Candy, whereas World In Action itself is a determined trudge through barbed and murderously noxious levels of polluted atmospheres, then effectively ripping the rug from under your feet and pirouetting in freefall with After Dark.
Boomkat Product Review:
Sorely gripping turn from Luke Younger’s Helm for TTT, written in response to the blockbuster tragicomedy, Brexit, and bolstered by the searching percussion of Tomaga and Raime’s Valentina Magaletti.
Following the ambient-rhythmic-noise course of his Olympic Mess LP and his heat-warped Rawabet instalments, World In Action finds Helm farther downstream at a turbulent confluence of both those sides’ aesthetics, sifting out a panicked and anxious sound where it feels as though he’s practically treading water to keep his head above the chaos.
Incorporating the vital, free-roaming percussive suss of Valentina, who props up what is perhaps one of the rhythmic achilles heel of Helm’s music, World In Action makes a nod to the ‘80s/‘90s current affairs TV programme of the same title in its sleeve artwork and centre labels depicting their ident, Da Vinci’s Vitruvian Man, perhaps amounting a sort of hauntological elegy for the British popular intellect and sense of proportionality.
An impressionistic distillation of the times, on World In Action Younger layers and interrogates a number of studio and field recordings made in East London, South-East Kent and at Snaresbrook Crown Court to form his own personal echo chamber of claggy clangour and worried sax scrabble, oscillating between impenetrable skronk and wistful spiritual jazz motifs in the opening Blue Scene, to dwell on a push-and-pull of vintage 8-bit sonics and deconstructed techno with Candy, whereas World In Action itself is a determined trudge through barbed and murderously noxious levels of polluted atmospheres, then effectively ripping the rug from under your feet and pirouetting in freefall with After Dark.
Boomkat Product Review:
Sorely gripping turn from Luke Younger’s Helm for TTT, written in response to the blockbuster tragicomedy, Brexit, and bolstered by the searching percussion of Tomaga and Raime’s Valentina Magaletti.
Following the ambient-rhythmic-noise course of his Olympic Mess LP and his heat-warped Rawabet instalments, World In Action finds Helm farther downstream at a turbulent confluence of both those sides’ aesthetics, sifting out a panicked and anxious sound where it feels as though he’s practically treading water to keep his head above the chaos.
Incorporating the vital, free-roaming percussive suss of Valentina, who props up what is perhaps one of the rhythmic achilles heel of Helm’s music, World In Action makes a nod to the ‘80s/‘90s current affairs TV programme of the same title in its sleeve artwork and centre labels depicting their ident, Da Vinci’s Vitruvian Man, perhaps amounting a sort of hauntological elegy for the British popular intellect and sense of proportionality.
An impressionistic distillation of the times, on World In Action Younger layers and interrogates a number of studio and field recordings made in East London, South-East Kent and at Snaresbrook Crown Court to form his own personal echo chamber of claggy clangour and worried sax scrabble, oscillating between impenetrable skronk and wistful spiritual jazz motifs in the opening Blue Scene, to dwell on a push-and-pull of vintage 8-bit sonics and deconstructed techno with Candy, whereas World In Action itself is a determined trudge through barbed and murderously noxious levels of polluted atmospheres, then effectively ripping the rug from under your feet and pirouetting in freefall with After Dark.
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Boomkat Product Review:
Sorely gripping turn from Luke Younger’s Helm for TTT, written in response to the blockbuster tragicomedy, Brexit, and bolstered by the searching percussion of Tomaga and Raime’s Valentina Magaletti.
Following the ambient-rhythmic-noise course of his Olympic Mess LP and his heat-warped Rawabet instalments, World In Action finds Helm farther downstream at a turbulent confluence of both those sides’ aesthetics, sifting out a panicked and anxious sound where it feels as though he’s practically treading water to keep his head above the chaos.
Incorporating the vital, free-roaming percussive suss of Valentina, who props up what is perhaps one of the rhythmic achilles heel of Helm’s music, World In Action makes a nod to the ‘80s/‘90s current affairs TV programme of the same title in its sleeve artwork and centre labels depicting their ident, Da Vinci’s Vitruvian Man, perhaps amounting a sort of hauntological elegy for the British popular intellect and sense of proportionality.
An impressionistic distillation of the times, on World In Action Younger layers and interrogates a number of studio and field recordings made in East London, South-East Kent and at Snaresbrook Crown Court to form his own personal echo chamber of claggy clangour and worried sax scrabble, oscillating between impenetrable skronk and wistful spiritual jazz motifs in the opening Blue Scene, to dwell on a push-and-pull of vintage 8-bit sonics and deconstructed techno with Candy, whereas World In Action itself is a determined trudge through barbed and murderously noxious levels of polluted atmospheres, then effectively ripping the rug from under your feet and pirouetting in freefall with After Dark.
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