RIYL: Boards of Canada, Com Truise, TM404
Another great tip-off from Aidan Hanratty’s Bandcloud weekly email – if you aren’t already signed up for it, get to it. The first release he mentions in the last Bandcloud email is BACKWORDS’ Tre which OOH-sounds writes is “an intimate, muscle-and-sinew-deep exploration of the mysterious meeting point of man and machine.”┬áTre is something befitting of┬áHyperdub with its blurring of the real and non. Many of these tracks masquerade as experimental hip-hop beats that’d fit right at home on, yeah, [adult swim] bumps. Left jabs are thrown in this experimental tapestry with tracks such as “Wait!,” sounding as if its going to elevate itself in to psychedelia a la Tame Impala but then the dub chords roll out, and you’re left without anything to say, much less assume. BACKWORDS’ ride is filled with twists and turns to keep you on your toes and the mood fresh.┬áTre, in essence, holds much replayability. Listen to┬áTre below via the Bandcamp player and see what you think of it. Cheers!
Tre, the third release from Italy╩╝s BACKWORDS, is an intimate, muscle-and-sinew-deep exploration of the mysterious meeting point of man and machine ÔÇô here, Pardo and vintage synths, drum machines and miscellany from the second half of the last century. Twitchy beats, crackling textures and layers of tape distortion conjure a hallucinogenic universe that owes as much to heavy dub as it does to the techno-futurist optimism of the early modular synth pioneers.
Recorded over a period of two years, Tre is the result of an intimate process that is strongly connected to an image of a bigger body, a complex sound ecosystem, where analog debris take shape through subtraction and precise layering. Below/Above and Arpoon begin with one ÔÇťmovimentoÔÇŁ before slipping into another, approaching different time/space perceptions and juxtaposition of timbres and sounds with playful experimentation. The woozy looped basslines, distorted vocals and overstretched strings of Wait! suggest, in fleeting glimpses, the shadowy figure from whom all of these sounds flow. Pas de Chance clashes old samples against new granular synthesis and sequenced acid bass trying to find a meeting point between alien elements. Tanzania is a first take improvisation, simple and wild, in which static fuzz, sandpaper hisses and percussive clangs are cloaked in analogue warmth from a 1970s Amek BCII mixer and a Moog Prodigy...
released June 17, 2016
Master Helmut Erler @ Dubplate&Mastering Berlin
Cover Art Lovett/Codagnone
Written&Produced by BACKWORDS
- Maybe Buy
- Not My Style
- Too Expensive