Death Waltz and Pye Corner Audio. Flourescent Orange Vinyl and beautifully designed sleeve art. And you still haven't ordered it yet? This is essential for fans of John Carpenter, sci-fi soundtracks, dystopian fantasies and just good electronic music. Two tracks of future, past and present inspired cosmic music from the ever excellent Head Technician. Don't sleep on this, the latest in the Originals line from Death Waltz.
Vinyl 10" £9.49 DWO4
Fluorescent orange coloured vinyl 10" on Death Waltz Originals.
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YOUR RECENTLY VIEWED ITEMS
- Stars Shine Like Eyes / Quasar ll by Pye Corner Audio
“I like corners. You can skulk in them and no-one knows you’re there” - Phil, 5 minutes ago.
As the sinister melodies of ‘Stars Shine Like Eyes’ drift into aural view, I can’t help but see the Norman overseer crouching in the corner of a PCA gig doing his Tom Waits impression to nobody. I mean, if you’re a fan of corners, then why wouldn’t you also be a fan of music vaguely associated with them?
I’m sure this is the imagery that Pye Corner Audio man Martin Jenkins is aiming for on this one, but in space. It’s all about space right now, what with Nolan and his band of merry Zimmers making a film about finding love in a hopeless place (a black hole….?!.) and 70s cosmic synth fetishism through the roof. Death Waltz are partly responsible, buttressed by this shiny orange 10” with tracks full of shiny analog synth strings and sombre melodies. He’s still got his rhythm section, albeit stripped down to the basic drive to allow his komische detail to shine through. ‘Stars Shine Like Eyes’ is perhaps the truest to the vintage sound throughout the 9 minutes of its duration, but its over on side B that things get really interesting. Stripping away the big beat in the first and last thirds allows Jenkins to roam free with his tapey noise swells, and generally be more careful in his production. Then again, that bass sound IS chunky…
While Stars… undoubtedly sounds like many old synth voyages of yore, PCA updates the sound with his signature lofi edge and exploratory sound design on ‘Quasar II’.
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