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- / Ltd LP on These Are Not Records. Edition of 250 copies in screen-printed sleeve
- Includes download code
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- Future Machines by Kosmonaut
2 reviews. Add your own review.
Shadowy Texan synth-fiddler Patrick Park dropped my favourite new synth album of 2013 with his orange-sleeved LP on Deep Distance (now sadly long gone), so I’m delighted to see he’s back in business and starting 2014 with a bang in the form of this beautifully presented new LP on These Are Not Records. This time round the LP is split into seven distinct tracks, creating a focused series of vignettes which range from womb-like calm to panicked cosmic dread.
For those unfamiliar with his outer-space bliss outs, Kosmonaut’s recordings tend to be split between gaping deep space drone marathons and more restless cosmic tomfoolery. I tend to prefer the latter, so I’m having a field day with this one, a robotically unfolding melange of looped synths, 16-bit explosions, robotic modular bleeps and fluttering bottom end. Park even goes a step further than he did on the orange LP by incorporating flickering drum machine loops on some of the tracks, imbuing his mind-melting dronescapes with a propulsive danceable streak which we’ve never seen from him before. Not to imply that these are dancefloor-filling club bangers; it’s more of a robotic post-chillout darkness which is still situated firmly in deep space and by the evil buzzing darkness of ‘Haus Maschine’ which closes side A he’s using the relentlessly rhythmic tones to conjure a claustrophobic ‘Event Horizon’ ish terror.
On the other side ‘First Ashes’ is a highlight, opening with a calm two-note synth line which becomes more fraught as it progresses, with crushed mechanical ‘Terminator 2’ drums joining the synthetic fray midway through to excellent effect. If you’ve enjoyed Kosmonaut’s previous releases on Deep Distance then this is a completely engrossing next chapter. It’s great to see a contemporary cosmic synth practitioner forging so single-mindedly into the future instead of just trying to recreate the past. Thumbs up.
8/10 Deep Gloss Customer review, 26th June 2016
Sort of Berlin School electronics but more edgy with some nice menacing moments and enough weirdness to keep you alert - not music to drift off to. Seven tracks over the two sides means not too indulgent and varied enough to keep you engaged. It's not deep in the countryside listening, nor is it for skulking through urban decay, but that midway land of edge of cities and small towns where the tomfuckery of voting to leave the EU happened. It sort of sounds OK but there is something serious going on that is somewhat disturbing...
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