October 24, 2017

Extrawelt - Fear Of An Extra Planet

corlp041EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden’s Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including “Schöne Neue Extrawelt” and “In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it’s with great pride and respect, that we can announce the release of Extrawelt’s third album for Cocoon Recordings. “Fear Of An Extra Planet” completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT! Musically, of course, there’s enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title “Fear Of An Extra Planet” sounds cinematic, like some art-house science fiction film, without giving too much away. However, from the first seconds of the opening track “Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, “Superposition” perfectly captures the epic, dream like quality that made James Holden’s label so influential. Second up, “Gott ist Schrott” takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful.

 

October 24, 2017

The Cyclist - Sapa Inca Delirium (2LP+Download)

hypeple10Having given us a taster of things to come back in September 2016, with the ‘Pressing Matters’ single, The Cyclist returns to Hypercolour with a brand new, full length album. And as the title suggests, “Sapa Inca Delirium” leans heavily on South American mysticism, not just musically, but in the visual imagery that the eleven-track album paints so well across its various tempos and rhythms. From the tropical burst of mood setting opener, “Go Back” to the steamy and pacey percussive flow of “Inhale/Exhale” which features regular collaborator Tanaya Harper on vocals, The Cyclist’s fourth long player is crammed full of intriguing atmospheres and soundscapes. “Antiexist”, with its down-tempo rolling snare fills and ethereal Gregorian chanting segues effortlessly into “A Blind Girl Drinks Ayawaska”, a suitably discordant and hallucinogenic skit that ensures the album flows into the more rhythmic cuts like “Skateboarding In The Jungle” and “Mirrors” (the second album cut to feature Harper on vocals). Even the traditional jazzier vibes of “When We All Break Down” featuring Joni are kept rugged and boisterous, with heavyweight bending bass, choppy breakbeats and FX’d ambience amongst the smooth jazzy chords and sweet vocal delivery. “Sapa Inca Delirium” is one of those albums that will reward on repeat listen, such is the diversity of style on show here, and the detailed and wide eyed curiosity offered up across the long player’s fifty three minutes.

 

October 24, 2017

Aris Kindt - Swann And Odette

kds001lpAmbient shoegaze duo Aris Kindt launch the new Kingdoms imprint with their second album, Swann and Odette. Picking up where their first record (2015’s Floods) leaves off, Swann and Odette is an evolutionary leap forward for the duo. The sonic palette is deeper, the grooves more sparse and the melodies are given more room to seep deep within a mix so expansive it feels almost tactile. This is heady, opulent stuff. The album is immaculately produced and cunningly arranged to sidestep easy classification while not sacrificing accessibility and authentic feeling. Aris Kindt is the collaborative project of Gabe Hedrick and Francis Harris (Scissor and Thread). Harris has previously released the albums Leland (2012) and Minutes of Sleep (2014), both of which have been lauded “for (their) extensive use of live instruments, a contrasting feature to his work done before” (last.fm, 2016). Building on this approach, Hedrick adds his own sonic signature in effects-laden layers of electric guitar and modular synthesizer. Collectively, the album swells and reverberates to create a seamless interplay of synths and instrumentation cast loose from their origins and awash in oceanic delay.