“YOUTH host Significant Other’s glum but resilient meditation on love and loss, a broodingly therapeutic debut album that straddles IDM and industrial Ambient signatures, reminding us of work from Bola to Jay Glass Dubs, Spectre to classic late night Rob Hall mixes.”
“Sharing a different side of his sound to that heard on club-cut 12”s for Spe:c, Oscilla Sound and anno over the past few years, Significant Other here dwells on feelings that “emerged from moments of extreme passion and pain", patching new and archival material to work thru a mental fug of ambient noise laments and crankily dubbed out illbient lines of thought.
The pacing is stygian and the atmosphere near still, betraying a depth of suppressed emotion that he processes over the album’s eight tracks. ‘Demonology’ evokes a hash haze contemplation with its patina of Burial-esque vapours and incidental crackle, and ‘The Future Doesn’t Exist’ taps into a classic vein of screwed NYC downbeats a la Spectre, showing off a killer instinct for crushed hip hop drums also explored on the weighty swang of his ‘Love Beat.’
‘Residuum’ doesn't fall into outright doom, preferring to skirt the event horizon of a black hole and keep the chin bobbing up with the vulnerable yet hopeful tones of ‘Pendant’, also in the Loren Connors-esque midnight peal of ‘Drifting In The Third Person’ and the elegiac closing sequence ‘Perpetual Care’, with its piano and string led coda”
–Boomkat
“YOUTH host Significant Other’s glum but resilient meditation on love and loss, a broodingly therapeutic debut album that straddles IDM and industrial Ambient signatures, reminding us of work from Bola to Jay Glass Dubs, Spectre to classic late night Rob Hall mixes.”
“Sharing a different side of his sound to that heard on club-cut 12”s for Spe:c, Oscilla Sound and anno over the past few years, Significant Other here dwells on feelings that “emerged from moments of extreme passion and pain", patching new and archival material to work thru a mental fug of ambient noise laments and crankily dubbed out illbient lines of thought.
The pacing is stygian and the atmosphere near still, betraying a depth of suppressed emotion that he processes over the album’s eight tracks. ‘Demonology’ evokes a hash haze contemplation with its patina of Burial-esque vapours and incidental crackle, and ‘The Future Doesn’t Exist’ taps into a classic vein of screwed NYC downbeats a la Spectre, showing off a killer instinct for crushed hip hop drums also explored on the weighty swang of his ‘Love Beat.’
‘Residuum’ doesn't fall into outright doom, preferring to skirt the event horizon of a black hole and keep the chin bobbing up with the vulnerable yet hopeful tones of ‘Pendant’, also in the Loren Connors-esque midnight peal of ‘Drifting In The Third Person’ and the elegiac closing sequence ‘Perpetual Care’, with its piano and string led coda”
–Boomkat
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“Coiled hard drum pressure from NYC’s Significant Other, riding reticulated rhythms for Hank Jackson’s anno label.”
“Putting some grungy NYC muscle in it, Significant Other follows shots on Spe:c and Oscilla Sound with some of his darkest gear here. ‘Every Night A Dtream Visits Us’ works a lather of sidewinding, sinuous arps and drums under Ghost In The Shell atmosfear, and the scaly ‘Gomek’ drags us down an alley to chew our bones and spit ‘em out in a sort of slompy cumbia dance. ‘Oblivion’ allows for some more brooding, beat-less introspection continuing his narrative style, and ’Second Skin’ crawls out on swingeing, snag-toothed tresillo rhythms lodged somewhere between DJ Python and Nick Klein. ”
–Boomkat
“Coiled hard drum pressure from NYC’s Significant Other, riding reticulated rhythms for Hank Jackson’s anno label.”
“Putting some grungy NYC muscle in it, Significant Other follows shots on Spe:c and Oscilla Sound with some of his darkest gear here. ‘Every Night A Dtream Visits Us’ works a lather of sidewinding, sinuous arps and drums under Ghost In The Shell atmosfear, and the scaly ‘Gomek’ drags us down an alley to chew our bones and spit ‘em out in a sort of slompy cumbia dance. ‘Oblivion’ allows for some more brooding, beat-less introspection continuing his narrative style, and ’Second Skin’ crawls out on swingeing, snag-toothed tresillo rhythms lodged somewhere between DJ Python and Nick Klein. ”
–Boomkat
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“Noirish dancefloor sophistication from Significant Other, coming off like Parris meets Alex Zhang Hungtai or a crankier Batu and Raime’s gaff on his debut for Oscilla Sound”
“Club Aura’ sets the dank tone with creepy, seeping electronics stalked by FM synth bass while lonely sax dances around its blue shuffle. ‘Mike’s Gone Back To Manchester’ then amps the energy levels to a murkier swagger a la Loefah’s 81 posse, and ‘Little Blue Pills’ balances that dank pressure with scudding trance licks on a properly writhing tip, leaving ‘drum Therapy’ too turn it out on a jungle-footwork tip recalling tracks off Raime’s ‘Planted’ EP”
–Boomkat
“Noirish dancefloor sophistication from Significant Other, coming off like Parris meets Alex Zhang Hungtai or a crankier Batu and Raime’s gaff on his debut for Oscilla Sound”
“Club Aura’ sets the dank tone with creepy, seeping electronics stalked by FM synth bass while lonely sax dances around its blue shuffle. ‘Mike’s Gone Back To Manchester’ then amps the energy levels to a murkier swagger a la Loefah’s 81 posse, and ‘Little Blue Pills’ balances that dank pressure with scudding trance licks on a properly writhing tip, leaving ‘drum Therapy’ too turn it out on a jungle-footwork tip recalling tracks off Raime’s ‘Planted’ EP”
–Boomkat
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“After stepping out on spe:c last year, Significant Other continues to impress with this new Well Street Records drop. On the Postdrome EP we find the producer serving up whirling techno polyrhythms that have a strong dose of UK bass, grime and psychedelia to them. Cuts like ‘Brain Fingers’ split the difference between the soundsystem stylings of Walton or Lurka and the trippy excursions of Whilst. Moments in ‘Delos’ nod to the sound of Lisbon’s Príncipe. Artwork by Bloody Bishop is worth the entrance fee alone.”
–Bleep
Listen/Download
“After stepping out on spe:c last year, Significant Other continues to impress with this new Well Street Records drop. On the Postdrome EP we find the producer serving up whirling techno polyrhythms that have a strong dose of UK bass, grime and psychedelia to them. Cuts like ‘Brain Fingers’ split the difference between the soundsystem stylings of Walton or Lurka and the trippy excursions of Whilst. Moments in ‘Delos’ nod to the sound of Lisbon’s Príncipe. Artwork by Bloody Bishop is worth the entrance fee alone.”
–Bleep
Listen/Download
Buy: https://wellstreetrecords.bandcamp.com/album/postdrome-ep-wsr-so1
001
Transformative Spaces
001
Transformative Spaces
Introducing a new project. The first episode of ‘See You Monday’, a podcast centered around examining dance music through an interdisciplinary lens. Every Monday for the next few weeks a new episode will drop, beginning with today’s: ‘Transformative Spaces’.This first episode examines raving as a transformative practice, one that hinges on participation. The club vs the rave, reinforcement of values within subcultures, and how the individual is transformed by dance music.
Works Cited:
Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England, 1998. Print.Barthes, R., & Howard, R. (1991). The responsibility of forms : critical essays on music, art, and representation. Berkeley (Calif.): University of California press.Meyer. Emotion and meaning in music : by Leonard B. Meyer. Chicago: University of Chicago Press, 1961, c1956.Buckland, Fiona. Impossible Dance: Club Culture and Queer World-Making. Wesleyan University Press, 2002.Reynolds, Simon. Energy Flash: A Journey through rave music and Dance Culture. Softskull press 2012.
Introducing a new project. The first episode of ‘See You Monday’, a podcast centered around examining dance music through an interdisciplinary lens. Every Monday for the next few weeks a new episode will drop, beginning with today’s: ‘Transformative Spaces’.This first episode examines raving as a transformative practice, one that hinges on participation. The club vs the rave, reinforcement of values within subcultures, and how the individual is transformed by dance music.
Works Cited:
Small, Christopher. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England, 1998. Print.Barthes, R., & Howard, R. (1991). The responsibility of forms : critical essays on music, art, and representation. Berkeley (Calif.): University of California press.Meyer. Emotion and meaning in music : by Leonard B. Meyer. Chicago: University of Chicago Press, 1961, c1956.Buckland, Fiona. Impossible Dance: Club Culture and Queer World-Making. Wesleyan University Press, 2002.Reynolds, Simon. Energy Flash: A Journey through rave music and Dance Culture. Softskull press 2012.
002
Absence: Literature & Sound
002
Absence: Literature & Sound
A long form audio essay examining the ways in which the mediums of writing and music function differently in processing and vocalizing loss.Includes: Exploring the experience of listening and reading from both the perspective of the artist and the consumer. Analysis of how dance music can be constructed to reflect and articulate complex emotions. The parallels and differences between the ways in which the written word and sound are utilized to address heavy shit.
Works Cited:
Barthes, Roland, and Richard Howard. A Lover’s Discourse: Fragments. , 1978. Print.Moody, Rick. Demonology: Stories. 1st Back Bay pbk. ed. Boston: Back Bay Books, 2002.wordsofbruce.bandcamp.com/album/hek027…n-line-sweatPlatform – Contemporary-classics-003-untrueSmall, Christopher. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England, 1998.Morrison, Toni. Beloved: A Novel. New York: Knopf, 1987. Print.Sebald, W G. Austerlitz. München: C. Hanser, 2001. Print.
A long form audio essay examining the ways in which the mediums of writing and music function differently in processing and vocalizing loss.Includes: Exploring the experience of listening and reading from both the perspective of the artist and the consumer. Analysis of how dance music can be constructed to reflect and articulate complex emotions. The parallels and differences between the ways in which the written word and sound are utilized to address heavy shit.
Works Cited:
Barthes, Roland, and Richard Howard. A Lover’s Discourse: Fragments. , 1978. Print.Moody, Rick. Demonology: Stories. 1st Back Bay pbk. ed. Boston: Back Bay Books, 2002.wordsofbruce.bandcamp.com/album/hek027…n-line-sweatPlatform – Contemporary-classics-003-untrueSmall, Christopher. Musicking: The Meanings of Performing and Listening. Hanover: University Press of New England, 1998.Morrison, Toni. Beloved: A Novel. New York: Knopf, 1987. Print.Sebald, W G. Austerlitz. München: C. Hanser, 2001. Print.
003
Touch Absence
003
Touch Absence
A selection of tracks in keeping with the first two audio essays in this series.
A selection of tracks in keeping with the first two audio essays in this series.
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