Now dwelling in the more avant-garde hinterlands of electronica having begun his career associated with the Bristol dubstep scene, Muutto is the latest album from Berlin-based (because where else?) composer Adam Winchester. It's also the first ever vinyl release for Scottish independent electronic label a quiet RIOT.
Limited Vinyl LP £12.99 aqR007
LP on a quiet RIOT. Limited edition of 300 copies on clear & black marbled vinyl with full printed sleeve and textured coloured printed insert.
- Shipping cost: £3.35 ?
- Coloured vinyl
- Limited edition
Edinburgh’s RIOT Radio Records boot off their sister imprint a quiet RIOT with a wicked LP from Adam Winchester whom you may know is half of Dot Product alongside Chris Jarman (aka Kamikaze Space Programme). ‘Muutto’ is Adam’s second release under his real name - the previous being a tape on Simon Shreeve’s Osiris Music, and like Shreeve and Jarman he also has roots in UK bass music, with output as Bleecker and Wedge. He’s the perfect choice for the vision of the new label - offering a less explicitly banging counter to the driving club tackle of parent label - the music is quieter but still deliciously heavy at times.
It could be argued that producers with roots in Dubstep and Drum & Bass invigorated techno at a time when it had become safe, sterile and stale. What producers like Shifted, Mønic, Kamikaze Space Programme etc. have brought from bass music into techno has been refreshing - they opened the music up, reduced the tempos and found space. ‘Muutto’ has a masterful approach to space - like dub, you feel like you can manoeuvre inside this music - essentially it is techno -- just not for the dancefloor.
Opening cut ‘Crane’ feels cavernous - evocative of the monochrome sky that adorns the sleeve -- we get the sense of a bird free to soar infinitely until we’re anchored by a ten tonnes heavy, booming kick and rattling percussion. It pounds hard, building atmosphere rather than inducing flailing limbs. I’m pretty sure that samples from BBC record ‘Children Talking’ are utilized on ‘The Light’, but they’re partially obscured by the clanking drums, darkside bass and dissolving synths. ‘Primate Methods of Purification’ feels like being lost in some backwoods, desperately trying to find our way home to safety while under the surveillance of some terrifying alien/predator type mutation. The spaces between the distorted percussive pulse of ‘Hold’ are filled with eerie, longing, melancholy melodies, while ‘Metaphors’ sounds like Ben Frost and Ennio Morricone doing a power ambient Spaghetti Western soundtrack. ‘Swan Song’ closes the record with clattering percussion and gnarly, stoned hardcore bass, seeming to defy it’s weighty and noisy components with its tranquil mood and pace. Proper moody stuff and executed with some serious sound design skills.
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