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Becoming The Camracid is a set of dubby explorations of ambient space, dubbed down to cassette. crx091081gb, aka Robin Price, has rifled through the circuits of his synthesisers to produce these audio trips, with birdsong apparently a major inspiration. He also designed and laser-cut the artwork himself, so this is the full artistic package.

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  • Tape £6.99
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  • / Limited self-released tape. Edition of 100 copies in laser cut sleeve
  • Includes download code

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Becoming The Camracid by crx091081gb
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6 people love this record. Be the 7th!
9/10 Robin Staff review, 03 August 2015

This cassette comes lovingly pressed by another human tasked with the responsibility of being named Robin. I wish him a merry Christmas well in advance. Robin Price is his name, but crx091081gb is his unintelligible alias, a non-word that sounds like a computer crying. Last year we were treated to a belching tape of acid in the form of ‘Trago Acid Mills’, but Price seems to have slowed the tempo for ‘Becoming the Camracaid’, retaining the swabs of dubbified ambient electronica for an altogether more gentle release.

The tape begins by swapping throbbing beats with gentle, twinkling melodies before switching to those cyborg synths pioneered by nostalgia futurists Boards of Canada -- big gloops of archaic sound echo gorgeously as extra notes search for an overarching melody, a droning figure holding it all together. Price can’t stay well enough away from beats or basslines, something to get the blood rushing, and this tune gets bolstered by a booming half-groove before it ends. Overall, though, this first side feels as close to serene as acid-flecked ambient can: the field recordings that wash in with “Pastorale” evoke that landscape of early morning outdoors that few electronica artists can take us into.

There’s more of the same on the B side, with a more propulsive take on the Boards of Canada meandering in “Skunkworks”, a track blending firm beats with skittery sewer snaps. A watery ambience not dissimilar to Dolphins Into The Future creases into an absent-minded slice of percussion on “Sealoom & Birds”, while a bright shining drone is smacked with reverberating metallic objects on "Non-Aligned Church", recalling Boris circa 'Flood' and showing off Price’s ability to diversify minimalism on the fly. This is gorgeous and inventive stuff, basically, and I’m not just saying that because his name is the same as mine. That’s right. I am also called crx091081gb. It’s something I’ve come to terms with.


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