This 12" was the first ever release in FatCat's Split 12" Series. The initial impetus behind this was to draw together both band-oriented and electronic music, and to mark out a more abstract territory for the label. Mixing a number of unknown or up-and-coming artists with more established producers, the series will be packaged in a unique style that will set it apart from the other 12" that have come out so far on the label.
THIRD EYE FOUNDATION
Following 1997's harrowing “Ghost” LP, former Flying-Saucer-Attack collaborator Matt Elliot returned with what he considered to be the some of his best material to date. “There’s no end in Sights” opens as a bass-heavy drum’n’bass remix of fellow Bristol noiseniks KS Kollective. Slicing off snatches of guitar drone and tape loops, Elliot twists them into a propulsive, highly-fractured, beat-scape that’s bristling with warp-sounds and stereo activity. Half way through the 12-minute long track, the madness subsides and segues into a mellower crawl of picked guitars and looped atmospherics.
V/VM
V/Vm (Volume Versus Mass) are two young prankster-producers from Manchester. Having previously released two 12" compilations on their own V/VM label, a deliciously twisted X-mas single, and the excellent “0161" compilation in collaboration with Skam records (a ruptured electronic acknowledgement to the IRA’s violent reconstruction of their city centre). V/VM made their Fatcat debut with four jagged slices of playful, fucked-up electronica and abstract soundscaping. Littered with distorted digital noise, tuff beats, amp hiss and some great rhythmic programming, V/VM form an impact zone of electronica, industrial and fierce individualism. Shot through with an aggressive industrial / dub sensibility, sounds ambush the listener, dropping in and out as tracks threaten to collapse into sheer chaos.
supported by 4 fans who also own “Split Series #1”
I loved Centres when it first came out, but this one took me a bit. I'm glad I invested the time. This feels like a lost artifact that fell from space. Completely ethereal. Boxface
supported by 4 fans who also own “Split Series #1”
Equivalents - A series of photographs of clouds by the photographer Alfred Steiglitz beginning in 1925 Who's intent was meant to detach the actual image from the subject. In this case the subject was something other than the clouds.
In music all are equivalents as music is truly abstract by its very nature, so what you conger up is yours and yours only. Brian Bourassa
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