Daniel Avery broadens the exquisite sonic universe established on last year’s critically-acclaimed sophomore LP Song For Alpha, presenting the collected B-sides & Remixes. Showcasing cuts from the album’s writing and recording process, furthermore, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.
Further demonstrating the twin shades of euphoria and melancholy at the heart of Avery’s work, ‘Under The Tallest Arch’ merges tough, laser-focus breaks with a choral sound design that soars upwards to dramatic and dreamlike effect. This fresh cut introduces a collection that affords time dwelling outside of the margins of where club and home listening music intersect, perhaps further blurring the boundaries. Waves of spectral noise roll with energy, while pristine breakbeats intersect with introspective, subtle acid lines. Once more, close your eyes, press repeat.
Produced solely and exhaustively in his London studio, the lengthy recording process for Song For Alpha spanned some years, as Avery continued to tour, collaborate and experiment as a producer. Left with over 100 tracks that were eventually distilled into his sophomore album, ‘B Sides & Remixes’ delves into the parallel universe of music that arose from these tireless, creative sessions.
Meanwhile, the collected remixes span a spectrum of new and established names. Jon Hopkins, Actress and Four Tet each contribute typically bold reinterpretations of Song for Alpha’s standards, the latter originally released as a limited-edition twelve-inch at London festival Field Day.
Deeper still, the collections highlights remixes from uncompromising, underground producers such as Giant Swan, Manni Dee, Mor Elian, Inga Mauer and Anastasia Kristensen. Close friend and occasional DJ partner HAAi premieres a brand new remix, as does Avery’s studio neighbour and collaborator as PSSU, Richard Fearless. Meanwhile, pioneering techno acts Surgeon, Luke Slater and Patrick Russell apply their individual sensibilities, complimenting the album’s heritage of experimental electronics.
supported by 7 fans who also own “Song For Alpha B-Sides & Remixes”
I came to this album from Biosphere's ambient work. The first few tracks felt very 'of the era' but when I got to 'Tranquilizer' I knew I needed this album. Turn it up loud and let that bassline pummel you. Just bliss.
The ambient tracks on this album are lovely, although not as refined as his later work. The techno tracks (excluding the perfection of Tranqulizer) didn't age terribly well, though. Simon Chester