Long before the man with the fixed ‘fuck you’ stare, can of beer, e-cigarette and laptop found a home as one half of Sleaford Mods, Andrew Fearn was making music at home comprising samples, loops, frazzled electronic textures, deep bass rumbles, mutated beats, punk snarl, post-dancefloor meltdown mayhem and all manner of other abstract and disparate sounds. Rammed home by the same DIY sensibility that drives Sleaford Mods, Andrew’s (mostly) solo works are where he cuts his teeth on new ideas, fresh sounds and music that sways heavily between that of a chemical-soaked film soundtrack and an obvious passion for all things that filter in from those less obvious edges most people prefer to keep at bay.
Just Tracks collects the latest album of the same name alongside a bonus disc which delves into his back catalogue (otherwise to be found residing on Bandcamp and various other spots over the ‘net). It, perhaps as suggested, merely hints at the little sonic dust-storms Andrew kicks up at every available free moment he gets (presumably over rugged and much abused equipment stained by coffee and with overflowing ashtray nearby…).
Disc One (Just Tracks Album) 1. Care Less 2. Dirty Soup 3. Foul Play 4. Crystal Ball 5. Boss Lies 6. Tech Lies 7.Garner 8.Funhouses 9.Breath In 10.Breath Outro
Disc Two (Random Selection)
1. Anguish of Conflict 2. Bad Penny 3. Stoop Me 4. Kraken 5. Heavy Menthol 6. Dirty Bastard 7.S unshine E 8. Lost By (Remix) 9. Drum an Cello 10. Wolverines Violin
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I've not come across EXTNDDNTWRK before but it doesn't take much digging to figure out that this is the solo project of the "Chris Lowe of Sleaford Mods" Andrew Fearn. Yup, this is two CDs of instrumentals from the guy who stands at the back with a dinky synth while his buddy gets all sweary on the mic.
There are two discs here, with 'Just Tracks' being his new album and 'Random Selection' containing the best of the rest from his hard drive, finally immortalised on plastic before they slowly drift into bandcamp oblivion. Stripped of the viscerally confrontational lyricism of the 'Mods, Fearn's solo tracks offer a subtler shade of chills, with dinky beats and gloopy synth loops stalking ominously past your ears in a strange weightless sprawl; sometimes wallowing in sinewy ambience like in 'Crystal ball', sometimes stretching out in shuddering trip-hop spirals ('Gamer'), and on 'Funhouses' even heading into a stumbling glitch-horror trip like Hacker Farm trying to score a giallo film. Intriguing stuff.
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