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1 review »Blimey, I’ve just gone and listened to more than a side of this record before noticing that I’m playing it at the wrong speed! The creepy electro acoustic drone’n’clatter incantations on this LP do get even creepier when spun at 33rpm, but it’s meant to be on 45! Never mind that, though, because now I’ve got it going on the right speed it sounds bloody gre ... »

  • LP £14.99
  • Sold out.
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  • VHSX-006
  • VHSX-006 / LP on Pre-Cert Home Entertainment

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REVIEWS

Shacklecross by Anworth Kirk
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9/10 ReviewBot300 Staff review, 17 July 2012

Blimey, I’ve just gone and listened to more than a side of this record before noticing that I’m playing it at the wrong speed! The creepy electro acoustic drone’n’clatter incantations on this LP do get even creepier when spun at 33rpm, but it’s meant to be on 45! Never mind that, though, because now I’ve got it going on the right speed it sounds bloody great. Lots of robotic synth whooshes and drones with dirty-sounding live percussion and various instruments poking their heads into the mix at certain points.

This is out on Pre-Cert, which is run by Demdike Stare and Andy Votel, and I’m definitely hearing elements of the Demdike Stare sound in what’s happening on this LP, composed largely of disorientating dark ambience with a real physical presence about it. Whether it’s boiling-kettle analogue tones or the madcap Eastern jumble of ‘Copious Opiates’, there’s something grimy and unsettling going on here.

Watery drips and metallic dinks rub up against semi-rhythmic squeaks, like a swing set still rocking in a deserted children’s playground in the middle of the night, but then there’s more astral, shimmering synthesiser tones, and towards the end of the second side (it’s somewhat hard to figure out which track since they all kind of run into one another but I think it’s ‘Follicular Ambrosia’) he pairs live drums and guitars with some creaking, bubbling ambience for a pretty intense passage which then drops down to quite minimal piano and guitar and scrapey weirdness.

There’s always an element of musicality here but with the exception of this end section and the aforementioned crazy Eastern passage on the first side it’s largely veiled by slow, creeping, ominous, electro acoustic ambient dreadscapes. Thoroughly impressive and evocative stuff throughout.


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