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Discipline makes the world go round, baby. So said King Tubby I believe. So labels take note: this is how you produce CDs in the modern age. The packaging is utterly tremendous, way superior of anything I’ve seen in recent months. Housed in lovely brown card, you get a cd, some postcards, a guitar pick! Lavishly done and it’s that extra bit of effort that makes the difference. Of cours ...

CD £13.49 DEN206CD

Digipak CD on Denovali.

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LP £18.99 DEN206LP

180g vinyl LP on Denovali.

  • Includes download code.
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CD £13.99 FA012

CD on Fluid Audio.

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REVIEWS

Splintered Instruments by Matthew Collings
1 review. Write a review for us »
9/10 Clinton Staff review, 01 February 2013

Discipline makes the world go round, baby. So said King Tubby I believe. So labels take note: this is how you produce CDs in the modern age. The packaging is utterly tremendous, way superior of anything I’ve seen in recent months. Housed in lovely brown card, you get a cd, some postcards, a guitar pick! Lavishly done and it’s that extra bit of effort that makes the difference. Of course it would all be man hours wasted if it were not for the impressiveness of the music contained within.

First up, check yo history. Matthew Collings is a musician once of Iceland, now of Edinburgh (just as cold I believe). Live he creates a wall of sound using guest guitarists of which haplessly one was once this writer who had to be informed halfway through by a fellow guitarist he hadn’t put his headphones on. Anyway it’s as much of a blast to watch as the opening track here is to listen to. A cacophony of aggressively strummed guitars are joined by crashing percussion, pianos being pushed down stairs while vocals attempt to cut through the racket.

It seems that Collings has tired of the ambient scene and decided to make a noise instead. And it’s no bad thing. Those of you waiting patiently/foolishly for some new My Bloody Valentine...um...product could do well to hear ‘They Meet on The Subway’; a bendy blast of intriguing distorted guitars, whistles and bells which reaches sonic overload half way through. The remaining tracks drift more into ambient textures with disembodied voices, neoclassical-like strings but luckily with lashings of surface noise and eerie distant vocals. Most impressive.




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