News
SOMA PHONE NUMBER CHANGE
Wednesday, 1st February 2012
As of 1 February 2012, Soma Records will no longer be contactable at 0141 229 6220. Our new telephone number is 0141 226 4142 (this is also our fax number).
**PLEASE UPDATE YOUR RECORDS**
Harvey McKay - Want You
Wednesday, 1st February 2012
2011 was a massive year for Harvey McKay, as he released and remixed on labels like Drumcode, Saved, Octopus, 8-Sided Dice and of course his home-town label Soma Records. It was also a year where he defined his dark, heavy and rolling sound.
On his first EP of 2012, he continues on the road of toughness through the 'Want You' EP.
Rumbling sub-bass underpins both original productions, but really comes to the forefront on 'Want You'. Clever rhythmic use of a vocal sample keeps the track fresh throughout, especially into the the short and effective break. One things you'll notice about Harvey's productions are the drop. And again it is nailed on this track.
'Body To Body' sticks with the growling low-end but brings a little more jack to the table. Driving and loopy the track pushes throughout with crisp rides and high hats. The only break here come with the subtle removal of one of his many layered kick drums.
Alex Under - La Maquina de Bolas
Tuesday, 31st January 2012
Spanish artist Alex Under marks the progression of his work with the release of second album, ‘La Máquina de Bolas’, released in March 2012 through Soma Records. The acclaimed producer and CMYK label boss returns a more experienced, complex artist after a seven year album hiatus following 2005’s Trapez LP release, ‘Dispositivos De Mi Granja’.
In this latest release we hear an engaging offering from the Madrid native. There are some signature musical aspects which were also part of AU’s earlier output such as the introduction of an theme early on, which is subsequently manipulated and built upon. The focused concentration on a limited selection of sounds also reflects earlier work. However, much of Máquina subverts the practised minimal style of the mid-00’s showing a desire to create expansive sounds within this stripped-down minimalism.
First track on Máquina, Bola 1, acts as an introduction to the album sound, suggesting the album be taken as a complete whole, rather than disparate individual tracks. The track provides a sparse compositional ‘ramp’ into the subsequent tracks and slowly moves into Bola 2, which, engages samples with subtlety and soothing progression.
The themes and phrases on the album help to maintain the connected nature of the piece as a whole. There are repeated themes throughout various tracks and some self-referencing. The fluidity and balance as a whole is helped by the insightful choice of effects as heard clearly in Bola 5 which wallows in soft liquid synths.
The sound gets deeper throughout the album but the balance is well maintained and some clever tools for offering an almost tactile sound are invoked by AU as he brings in the rising bass tabla drum tones to merge with some lower beats and bass, bringing the impact of the bass up in the mix whilst never losing focus of the complex dynamics of the whole work.
The highlight of the album is waiting right at the end with Bola 7 hitting a bass heavy and forceful sound, the perfect way to tie together all elements of the album up to this point. The rhythm sits perfectly at the end of the project, which feels completed.
La Máquina de Bolas certainly conveys a new direction for Alex Under with his aesthetic obsessions and meticulous production holding him in good stead. This new material broadens expectation for the producer and the range of sound doesn’t unnecessarily complicate. This affecting second album signposts the next period in AU’s trajectory.
Alex Under - El Alma del Tiempo
Monday, 30th January 2012
Spanish artist Alex Under marks the progression of his work with the release of second album, ‘La Máquina de Bolas’, released in March 2012 through Soma Records. The acclaimed producer and CMYK label boss returns a more experienced, complex artist after a seven year album hiatus following 2005’s Trapez LP release, ‘Dispositivos De Mi Granja’.
The Alex Under singles released on Soma Records are not taken from the album, but do maintain the musical ethos found on the forthcoming long player. The title track, El Alma Del Tiempo is a dizzying foray into the deep and somewhat disturbing Alex Under Techno, where the precise sonic production that AU is known for meets a rawer and more abrasive sound.
Slam step up for the remix as they welcome Alex onto their label of 20 years. Turning in one of their classic 'big room' works, Stuart and Orde maintain the darkness but turn up the subs in this muscular mix.
The closing track, Addendum, brings a little light to the EP with swinging percussion and grooving bass. Fear not though, this is balanced with a slice of distortion few producers are skilful enough to use in such a manner and draws the circle on Alex's first aural outing on Soma Records.
Slam Remixed Part 4
Monday, 9th January 2012
Soma20 | Slam Remixed Part 4 [Soma327D]
1. Slam - Human (Oxia Remix)
2. Slam - AlienRadio (Harvey McKay Remix)
3. Slam[feat.DotAllison] - Visions (Cosmin TRG Remix)
Release date: 09/01/12
Even in the depths of winter, the Soma20 celebrations show no signs of slowing down. A medley of Slam tracks are reworked by three of the hottest producers around.
Frenchman Oxia brings big bass and relentless rhythm in his remix of Slam's Human track. The original track from 2004 was fast, tense and abrasive and lent its self to the sultry side of Slam's productions. Oxia softens this tight original masterfully as he brings dubby tones and chords to the fore of his mix, while underpinning it with powerful low-end resonance.
Soma's Harvey McKay is up next with as straight and heavy remix of the massive Alien Radio, from the Slam album of the same name. McKay keeps the sequence of the signature bassline true, but entirely changes the feeling of the hook from haunting to nasty. Beeline drums and percussion are what Harvey McKay excels at, and this remix is a prime example of his style.
Cosmin TRG has garnered a lot of attention in the last 12-18 months... and deservedly so. Releases on Rush Hour, 50 Weapons, Hessle and Tempa have seen massive success and have also ensured a busy diary of gigs across the world. His mix of Slam's Visions uses the vocal samples and seductive tones of lyricist Dot Allison amidst filtering synths and loose, swinging drums.
Soma Ltd. 12
Sunday, 8th January 2012
Regis is of Techno legend status. Working his acclaimed Downwards label and also now running the much hyped Sandwell District, Regis has stayed true to his deep, yet often tough sound. In his remodel of X-Trak 1, Regis keeps a massive kick drum rolling behind those famous stabs. Soft and subtle synths sweep through the track adding a wondrously spacey feel that brings atmosphere and class.
In Ryan Crosson's remix, Detroit’s own experimental innovator goes surgical; injecting Smoke’s track with a rippling bass line that provides the main theme for the music as it sits comfortably underneath gentle synths and Alex’s mega-morphed, ghostly vocals. A percussion transfusion sees the original, intricate and glitch percussion being carved out and replaced with a more mechanical beat that compliments the bass and supports the other musical elements. Crosson stretches the track out to nine and a half minutes and maintains the song’s ambient soul while also including a driving end section, featuring percussive aspects that suggests homage to Smoke’s original rhythms.
Soma Shop Sale Ends 31 January
Thursday, 5th January 2012
CDs - £5
(Except The Black Dog - Liber Dogma - £8)
SOMA T-Shirts - £8
SOMA20 T-Shirts - £10
SOMA RECORDS: 20 YEARS - £10
www.somarecords.com/shop
Slam Remixed Pt 2
Wednesday, 4th January 2012
For over 2 decades Slam, together with Soma have been pushing the envelopes of house and techno. Their constant innovation along with their independent ethos has allowed them to prosper in a constantly changing business. To celebrate their 20 years in music, Soma are releasing a selection of classic tracks from their extensive back catalogue, newly remixed by some of the best producers on the label and in the world today. September also sees the release of a special 20th anniversary 3CD compilation featuring classic tracks and 2 mixes by Silicone Soul and Slam.
The 11th single in this classics series features two remixes of Slam’s classic track Stepback. The track, which sent shockwaves through the underground in the mid-90s, encompasses the classic early Soma sound; raw and stripped techno.
Adam Beyer is no stranger to Slams work, releasing two of their EPs on his own Drumcode imprint. For this special release however, he has teamed up with his fellow countryman Jesper Dahlback to bring Stepback their Swedish shine. The pair add a new dimension to the track, making it even more brooding and atmospheric whilst retaining that driving rhythm that makes the original so prominent.
For the second remix, Soma artist Mark Henning takes Stepback in a different direction. The deep house groove blends the original track’s industrial sound with Henning’s typical off-kilter basslines
Soma 20 Phase 16
Tuesday, 6th December 2011
Soma20 – Phase 16
H-Foundation – Passage of Time (D'Julz Remix)
Master H – Magic K (Paul Ritch 31 Trudaine Remix)
H-Foundation – Slayin' The Dragon (Klartraum Remix)
Soma 327d is the latest EP release taking a retrospective look at some of the catalogue through the varied filter of remixing. A number of talented producers and DJs have so far given some classic catalogue tracks new life and energy and this release conforms to these high standards.
Three remixes show the depth of talent associated with Soma and the eclectic nature of music, which is still being produced. There is something of a Franco/American synergy to this EP with Gallic flair provided by D’Julz and Paul Ritch turning in vibrant remixes, and Master H, another artist of the French persuasion providing the original resource for Paul Ritch’s remix. The aforementioned American influence is provided by H foundation, who provide two-thirds of the source material to be reworked.
Californian House producers Halo and Hipp-E, working together under the H-Foundation moniker, have enjoyed a very successful collaboration with Soma since releasing their 2002 single ‘Passage of time’, followed with an acclaimed LP ‘Environments’ in 2003 and further single ‘So fine’ in 2004. It is their first release with Soma, which commands the attention of D’Julz.
In this dynamic and varied remix of ‘Passage of time’ D’julz’s is able to call on influences varying from dub reggae to early acid house, with striking Jamaican vocal samples adding a depth to the remix, backed up by the tempered whistle sampling one would associate with early acid house and notably the subsequent production work of Andrew Weatherall. All this makes for a unique and well constructed remix which plays with form and provides a satisfying insight into both the original work and D’Julz’s own sounds.
Master H produced one album with Soma and was an approximate contemporary of the H foundation. Leaving a loving mark on the Soma imprint, this French producer has left plenty of valuable material in the catalogue, notably Magic K, which here gets the treatment from Paul Ritch. This remix is immediately immersive as the pounding kick drum and taut bass drive the initial sound. This track builds in depth and complexity as melodic lines merge with more ethereal synths, and with the introduction of unique and luscious guitar sampling we are taken to a more atmospheric, deeper sound. The track continues to apply dynamic shifts as it swirls down through the haze of melody and atmosphere to a powerful finale, supporting those strong guitar samples.
In highlighting the prominence of American and French artists on this EP we must not forget the powerful and diverse remix added to the mix by German pairing Klartraum, who focus on H foundation’s ‘Slayin' the Dragon’. Deep blue sub bass immediately grabs the attention, then slowly filters up combining with soft and emotive chords that hold a dubby influence. The archetypal Klartraum percussion joyfully plays with the original horns in the back ground adding depth, texture and atmosphere.
The Black Dog - Liber Dogma
Tuesday, 1st November 2011
THE BLACK DOG | ‘Liber Dogma’ [SomaCD092]
1. Dark Wave Creeping
2. The Death Ov The Black Sun
3. Steam Caliphate
4. Drop Kick Kali
5. Eden 353
6. Black Maria
7. Single Light Focus
8. Silent Escape
9. Hype Knot 7
10. Bird Siren
11. Feeder Rub Out
12.Worship: The Drum
13.カークラッシュ魔術
The Black Dog are a legendary live act whose ability to destroy venues and wreck soundsystems is undeniable. They blur the boundaries between DJing and performance while possessing an excellent sense of where to take the crowd. Live, they represent purist techno, which is also utterly crowd pleasing.
On record, tBd are famous for delivering subtlety, emotion, and intellectual richness, as well as great tunes, but never in their career have they managed to convey the sheer visceral impact of their performances as on Liber Dogma. This album contrasts with last year’s extremely well-received ambient outings on Music For Real Airports and the Dadavistic Orkestra collaboration with members of the Psychick Warriors of Gaia. While none of the band's artistry and care has been lost, there is now a greater focus on a pure, and utterly exhilarating, vision of how techno can transform the dancefloor into a realm of complete pleasure.
Presented as a seamless mix, Liber Dogma shifts expertly between biting, sensual electro (Death Ov The Black Sun), plangent electronics (Dark Wave Creeping, Eden 353, Feeder Rub Out), and also wave after wave of throbbing Dark Wave Techno. There is real continuity with the simply awesome funky techno of the accompanying singles on their own Dust Science label - together these releases comprise a mix- friendly triptych of the finest electronics currently available. Tracks such as Black Maria, Bird Siren, Single Light Focus and Silent Escape represent a renaissance in smart but hugely entertaining techno that offers a refreshing and eagerly anticipated alternative to anaemic synth washes or testosterone-crushed distortion. Liber Dogma is a satisfying and hugely enjoyable journey into sound.
The Black Dog -
“This album is about surrendering to hypnotic, physical music played loud in big, dark rooms. We always wanted to make an album that reflects the kind of set we play live, and that's what we've done with Liber Dogma. It's all about red lights, a smoke machine, a single strobe, a Funktion One soundsystem... and The Black Dog. We've played all over the world and we've brought that vibe back to our lab. Forget the fancy lighting, the indoor scarves, the hair do's and the hair don'ts; fuck all of that. Music is about losing yourself and having a good time with friends and that's what this album will help you do.”
HASH-BAR REMNANTS PT 2 available now
Tuesday, 27th September 2011
Deepchord
Hash Bar Remnants Part 2
(Soma319d)
Release Date: 26/09/2011
1. Amsterdam Remnant 3
2. Amsterdam Remnant 4
3. Amsterdam Remnant 5 (Digital Only)
4. Amsterdam Remnant 6 (Night Air Mix)
SOMA 20 YEARS [1991 – 2011]
Deepchord follows recent album release Hash Bar Loops and sell -out 12 inch Amsterdam Remnants, with even more luscious, flowing and atmospheric dub techno.
Hash Bar Remnants part 2 continues in similar vein, with controlled evolving elements, and a deep, troubling groove, built around towering soundscapes, warm chords and a rolling sub-bass . Track 2 follows with a dynamic and taut cymbal attack, guiding the listener through distant, travelling synth lines. Both tracks tread a fine line between relaxed, restrained atmospheric dub, and upbeat and dancefloor orientated Techno.
Remnants 5 and 6 follow as digital only releases, and continue to stimulate the listener’s ears. A heavy, penetrating low-end and static, repetitive textures are set against percussive elements which race from left to right across the aural field. The Night Air Remix adds a further dub feel to proceedings, losing the 4/4 kick, in favour of full off-beat production, while carrying the tense, profound and atmospheric melody present in the preceding tracks.
Rod Modell excels creating in ruminative, studied, and intense electronic music which we are delighted to give our full support to.
Alex Smoke - Alex Smoke Remixed
Wednesday, 10th August 2011
Alex Smoke remixed by Ryan Crosson, Sei A and Roof Light
Soma Records announce... Soma20 - Daft Punk – Drive Unreleased 1994
Tuesday, 2nd August 2011
Released:- 19/9/11
Album available for pre-order now:-
http://www.somarecords.com/shop/music/soma_cd95
At the tail end of 2010 we trailed boxes of DATs, pictures and god-only-knows what else to find artefacts of Soma’s early days. Imagine our surprise when we discovered a tape simply entitled ‘Daft Drive’. We hooked up the DAT machine and inserted the tape with the delicacy of a surgeon, pressing play and praying that for one, the tape contained what we hoped, and two, that it didn’t chew it like a dog chewing on a bone. In amongst the hiss and crackle, the most monstrous 909 kick drum thudded. Daft Punk’s Drive track had been rediscovered. Playing through was Live Daft Punk; freaky vocals, pounding Roland drums & synths and that archetypal DP compression. After standing in silence, witnessing this moment, the track faded off and we heard the sound of the French spoken word that the recording had been made over; the remnants of their parents audio collection. The tape had originally been sent with Rollin’ and Scratchin’ to be released as Soma25. But Soma asked these two bright-eyed and Techno-bound Frenchman, to finish and send Da Funk to accompany Rollin’ and Scratchin’ and DRIVE was shelved for a later date...
Daft Punk – Drive Unreleased 1994 is track 1 on the Soma 20 Years compilation triple CD release, and is joined by selected Soma Records classics, including tracks by Slam, Silicone Soul, The Black Dog, Funk D’Void, Samuel L Session, Percy X and Desert Storm. CD 2 is a Slam DJ mix of the back-catalogue remixes we received in our twentieth anniversary. Remixers include Adam Beyer & Jesper Dahlback, Nick Curly, Mark Broom, D’Julz, Paul Ritch, Pan-Pot, Oxia ++++ all woven together by label bosses SLAM.
CD3 is an DJ Mix from Silicone Soul, Their DJ mix is a representation of the tracks they saw from the dancefloor, be it the first record they bought; Otaku’s (Ralph Lawson, Fraser Brydson & Carl Finlow) Percussion Obsession, or DJ Q’s masterful mix of Counter Plan’s 90 Degrees. Peppered through their mix are snippets and acapellas like the beautiful keys of Daedalus or the vocals from Inspiration and Light, Tonight, and U Dig. You’ll also see Mark Henning’s Last Night, a personal favourite of the boys from the last few years of Soma stock.
Deepchord – Hash-Bar Loops LP
Wednesday, 8th June 2011
In our 20th anniversary year we count ourselves truly fortunate to be able to release music we love this much. Soma proudly welcome Deepchord to release Hash-Bar Loops on Soma Quality Recordings!
Rod Modell (a.k.a. Deepchord) is a sound-designer with 25 years involvement in electronic music and over 50 releases under various aliases and styles. Beginning with more "industrial" and "ambient" forms of sonic experimentation, he worked with Kim Cascone and his -then- record label Silent, and performed along-side notable industrial acts such as Chris & Cosey and SPK. While attending Art School for Photography, Rod lived in Detroit's Eastern-Market area, the location of the infamous "Techno Boulevard", and home to Derrick May, Juan Atkins and Kevin Saunderson during that time. Submersed in the blossoming Detroit Techno scene (early 1990's), a journey from a more experimental sound into Detroit's techno-world was inevitable. Modell then co-founded the Deepchord record label in Detroit during the mid-90's. Many consider Deepchord to be the second wave of the "Basic Channel sound", and came years before the onslaught of imitators.
After 16 releases on Deepchord, Rod went onto co-found Echospace. Echospace released two full length albums and five 12" singles on Modern Love (Boomkat), and a slew of releases on their Echospace imprint. 2007's "The Coldest Season" and 2010's "Liumin" are critically acclaimed electronic music classics, and were on top-lists of prestigious resources such as The Wire, xlr8r, and Resident Advisor (who wrote of The Coldest Season: "in terms of sheer quality, it rivals Basic Channel’s vaunted catalog. Put down that ultra-rare Basic Reshape 12” and check out what’s going on now. This album is bound to be one of the most fully realized listening experiences to grace your stereo this year, and is proof positive that DeepChord and Echospace are the rightful heirs to the dub techno legacy"). Rod also operated an audio-mastering facility in the Detroit area from 1995-2005, employing his services to many electronic record labels, including Richie Hawtin's M-NUS imprint.
Rod’s idea of an album revolves around a concept that isn’t always followed in modern day electronic long players. A chain of feelings and emotions emanate from his work and flow in a manner that has been very carefully considered. Buzzing in atmospheric warmth and layered with mesmerising rhythms, Hash-Bar Loops tells the tale of a hazy extended stay in Amsterdam, where the album was in the most part formed.
Starting from deep and dreamy soundscapes the album warms from the outset with the opener, Spirits. The underlying atmosphere is somewhat disconcerting, but balances perfectly with soft, distant chords and ever-evolving percussion. The album progresses through turbulent synths and outlying melodies in Sofitel & Merlot. On Tangier, stabs and textures melt into one another adding tension and dynamics in true Deepchord style. The swirling air of Electromagnetic then conveys a dizzying and hypnotic feel in which budding chords emerge from a white-washed DC soundscape. Balm steps into another world, with beautiful hovering chords that pulse throughout the track, forming a delicate and emotive shape. The climactic Oude Kerk sits at the peak of this album and deserves its crown. Arguably the most exposed of all tracks in the album, Oude Kerk fizzles end to end, letting the deep low frequencies and advancing percussion take over. City Centre then reels the synths back in, with contemplative pads that are underpinned with arguably the heaviest sub-bass on the album. Field recordings can once again be heard, hidden deep in the layers of sound in Crimson and Black Cavendish, where their dense sonics slowly swell behind metallic clangs. Closing the circle, Neon and Rain steps back into the deep and wistful soundscapes heard at the opening of the album where the familiar sense of unease and contemplation toy with one another.
Scott Grooves – Mothership Reconnection Remixes – Soma20 Phase 3
Wednesday, 8th June 2011
The third EP from Soma’s 20th Birthday series is a monster release. The Scott Grooves classic is reworked by a very-much on-form Claude VonStroke. Joining Claude’s remix is the legendary Daft Punk Remix that was featured on the original release back in 1998 along with Scott’s original.
Soma 20 Party @ Rockness!
Wednesday, 8th June 2011
Our stage will be the first stage to run until 3am on Friday and Saturday nights.
Ticket info:
put in the code SOMA when you buy your tickets here
http://aegliverockness.ticketsolve....5499468/events
SOMA Quality Recordings
20 YEARS [1991 * 2011]
http://www.facebook.com/SomaRecords
http://www.soma20.tv
http://www.somarecords.com/
2011 sees Soma Recordings celebrate their 20th year of releasing
stunning and eclectic, electronic dance music from across spectrum. The label will release a series of singles throughout the year, containing remixes of the extensive catalogue , including some of their biggest hits, like Funk D'Void's Diabla, Silicone Soul's Right On, Slam's "Lifetimes" and Scott Grooves with Mothership Reconnection (featuring Parliament/ Funkadelic and famously remixed by Daft Punk).
These releases culminate in a CD box-set released in Autumn. There will be a series of birthday parties across Europe throughout the Summer.The first Scottish party will last for 3 days (of course) and is taking place on the outrageous, outdoor Afterburner stage at Rockness, featuring a host of talent including Soma artists, collaborators and supporters across the entire weekend.
This will be the biggest birthday party in Rockness history!
Friday June 10 OPEN UNTIL 3am
Erol Alkan
Paul Ritch(live)
Heidi
Ewan Pearson
Saturday June 11 OPEN UNTIL 3am
Pan-Pot
Funk D'Void
Alex Under
Gary Beck
Master H
Harvey McKay
Sunday June 12
Derrick Carter
Andrew Weatherall
Jamie Jones
Sunday Circus
Vector Lovers – Electrospective EP
Wednesday, 8th June 2011
Martin Wheeler returns to Soma Quality Recording with Electrospective, the 4th album under his Vector Lovers guise. Martin’s past long players, the self-titled Vector Lovers, Capsule For One and Afterglow, won fans the world over with his unsettlingly emotive strain of electronic funk. In Electrospective, the highlights from these three albums and corresponding singles are remastered, with 2 previously unreleased tracks joining them. Beyond going back to his original productions Electrospective album, Martin has also been working on his iPhone app, which is due for release in early 2011. Such is the quality of Vector Lovers sound that his productions have been picked up by several world-leading automotive brands, most notably BMW who jumped at Tokyo Glitterati for the soundtrack to their 3 Series ads. His futuristic take on Electronica immediately pricks the ears and burns a lasting mark in your head.
Vector Lovers’ sound emanates from the 80’s, and is influenced by Kraftwerk, Depeche Mode and early synth pop. This can be most clearly seen on the fragile beauty of the opening track, Melodies & Memory, our first indication of Martin’s sublime talent for singing and songwriting. He describes where the motivation for this piece came from. “It was such a dismal night, the evening I put this together. I was up til dawn, drinking, smoking, crying. At least this track came out at the end of it. The melody came to me in a flash, just as I was opening the fridge for a beer.”
Shinjuku Girl steps into the darker, sonically mesmerizing soundscape of the Vector Lovers mind. Melancholic melody is apparent through the Electrospective album, but pierces through the dulled drones in this poignant track. City Lights From A Train is introduced with familiar percussive rhythms that could be the soundtrack to a locomotive running over railroad tracks until a distant but twinkling synth slides in. The powerful chords of Tokyo Glitterati grab a hold from the start, while a tough, broken beat drives a grit and determination home. Aggressive bass fizzles and rasps underneath the song making it one of the more assertive tracks on the album. Stranger Smiled At Me, one of the two exclusive tracks on the album, plays on a dreamier sound. Space and atmosphere bring a detached and celestial ambience to this albeit brief foray into the deep. Vector Lovers’ classic computer-funk style propels through Nightwalking Your Memory, telling a magical, broken story of Martin’s dystopian visions.
Warding back to a more optimistic way, Floating Point, the second of the exclusive tracks, is a delicate but provocative piece of music that builds harsh industrial tones and textures until a soft, gentle but still unnerving melody arrives coaxing us out. Neon Sky Rain, recently hosted of the Soma Coma 4 compilation, builds again in intensity through the course, and does so with grace and tact. Girl + Robot’s warped funk pushes to a heroic climax that falls perfectly into breakdown; bass a plenty fills the track thereafter to mighty effect. Kissed You By The Fountain stands out as the most self content piece on the album, but still retains just a note of unease through a ghostly choir that exits the track, epitomising Martin’s bittersweet form in music. Speaking of this bittersweet affair, it also applies to Vector Lovers choice in track names too. Rusting Cars And Wild Flowers tickles with elastic percussion that stretches behind soft and playful chords, and pushes memories of children playing in wasteland running sticks along fences. Metrolux Forever delves into the deep with an optimistic and inquisitive melody meandering through a hazy land of radio distortion and post-apocalyptic winds. The dreamy, electronic lullaby Lake Nocturne, taken from Vector Lovers’ debut album, brings Electrospective to a gentle close.
The increase in production values is striking when the originals and the 2011 re-masters are heard side-by-side. When you put this together with the two exclusive tracks on the album, it is apparent that this is a perfect review of the Vector Lovers sound. -Essential music.