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Some puns are funny, others aren’t, and some are rooted in reality. Coming together a glacial pace, The Abominable Slowman was recorded over the past twenty years and is a dense concoction of noise, rhythm, and patience. Colin Potter’s second full-length album boils down to a mix of ambient soundscapes and haunting (some might argue 'pleasant') fantasies.


  • LP £16.49
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  • ABST 004 / LP on Abstrakce Records, housed in a beautiful grey cardboard sleeve, hand-printed by letterpress, and die cut to reveal the printed inner sleeve

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REVIEWS

The Abominable Slowman by Colin Potter 1 review. Add your own review. 8/10
2 people love this record. Be the 3rd!

8/10 Staff review, 07 December 2017

Definitely Ant’s bag, this record, but apparently he “has to go give his daughter her packed lunch and then go to her nativity play”. Honestly he should just pack in listening to all this gloomy, heart-devouring industrial electronic music and focus on living his lovely life. The latest in a slew of reissues and declarations of adoration for noiser of note Colin Potter is actually seasonal: it’s called ‘The Abominable Slowman’, for goodness sake, and sees him work his dense, dank electronics into often humorous motorik conventions.

Recorded over an appropriately glacial period of time over twenty years ago, this record literally sounds like it’s been stewing in some stagnant corner, Potter taking turns on blemished and obscured dance ruminations and droney slabs of sound, such as the deep sinking “The Knights are Drawing In”. The resonating percussion and shifting soundbytes makes for maybe my favourite Potter track ever, a totally enrapturing sonic void that makes me never want to come back up to the surface.

Flip it and the guitars fuzz things into action: “Unstable Tennis” is a great, straight-laced noise dance track that grooves right at the centre, as if Potter traveled to the future, borrowed the aesthetic palette of Shit & Shine and made it play properly. As always, it’s wonderful hearing Potter tether his self-sabotaging tendencies to tunes so hit-making.


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