NFOmation.net - Your Ultimate NFO Upload Resource! Viewing NFO file: 00-darkstar-north-2010-debt.nfo 00-darkstar-north-2010-debt
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▄▄░▀████████▄▄▄║D e B T i s S l a V 3 r Y S T u P i D║░▄▄▄████████▀░ ▀
░▓█████▓░░░ ░ ╚═════╗ ╔════════╝▀ ░ ░░░▓█████▓░
▄▄███░▓████▓░░▀▀ ▀ ║DuBi0uSlY EnDoWs YoU WiTh║ ▀ ▀▀░░▓████▓░███▄▄
▄▀░████▓╔═══════════════════════╩═════════════════════════╩══════════════════════════╗▓████░▀▄
▐░ ▀▓████║ Darkstar-North-2010-DeBT_iNT ║████▓▀ ░▌
▀ ░████╚════════════════════════════════════════════════════════════════════════════╝████░ ▀
▀ ▀▀█████▀░████ ▄ ▄ ░▓████░▀ ████▀▀ ▀
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▄▄▀▀███████████▀▀▀ ▀▀████████████▀▀ ░
▄░▓███████▄▄▄░ ARTiST.... Darkstar ░▄▄▄███████▓░▀
░▓█████▄░░ ▄ ▀ TiTLE..... North █████▓░
▀░████▓░░▀ ░ ▀ LABEL..... Hyperdub ▀ ░ ▀░░▓████░▀
░▓███▓▓░ ▀ ▄▓▄ GENRE..... Synthpop ▄▓▄ ▀ ░▓▓███▓░
▀▀░███▓░▄▄░ RiP.DATE.. 2011-05-02 ░▄▄░▓███░▀▀
▀ ▄███▀░░ STOREDATE. 2010-11-02 ░░▀███▄ ▀
░░▄▄██▀▀▀ SOURCE.... CD ▀▀▀██▄▄░░
░░▄▄██▀▀▀ QUALiTY... 237 kbps / 4410kHz / Joint Stereo ▀▀▀██▄▄░░
▄ ▄███▀░░ TRACKS.... 10 / 39:35 ░░▀███▄ ▄
▄▄░███▓░▄ ░ SIZE...... 70.85 MB ░ ▄░▓███░▄▄
░▓███▓▓░ ▄ ▄▓▄ RIPPER.... EAC Secure with LAME 3.98.4 ▄▓▄ ▄ ░▓▓███▓░
▄░████▓░░▄ ░ ▀ URL....... ░▓████░▄
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▀ ▄ ░░▓█▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀ ▀▀████▓░░ ▄
▄░███ NR. TRACKNAME TiME ████░▄
▄ ░████ ████░ ▄
░ ▄▓████ 1 In the Wings 2:52 ████▓▄ ░
░ ▄▓████ 2 Gold 4:20 ████▓▄ ░
░ ▄▓████ 3 Deadness 4:39 ████▓▄ ░
░ ▄▓████ 4 Aidy's Girl Is a Computer 5:11 ████▓▄ ░
░ ▄▓████ 5 Under One Roof 4:31 ████▓▄ ░
░ ▄▓████ 6 Two Chords 3:58 ████▓▄ ░
░ ▄▓████ 7 North 3:53 ████▓▄ ░
░ ▄▓████ 8 Ostkruez 2:30 ████▓▄ ░
░ ▄▓████ 9 Dear Heartbeat 3:43 ████▓▄ ░
░ ▄▓████ 10 When It's Gone 3:58 ████▓▄ ░
░ ▄▓████ ---------------------------------------------------------████▓▄ ░
▀▄░████▓ ████░▄▀
░▓████▓▄ TOTAL TiME: 39:35 MIN ████▓░
░▓███████▄ TOTAL SIZE: 70.85 MB▄█████▓░
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░▓█████▓░╟─────────────────────────────────────◄RELEASE NOTES►╢░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ North is a synth-pop album, and not synth-pop ║▀░▓████░▀▄
▄▀░████▓░▀║ like general concept but synth-pop like ║▀░▓████░▀▄
▄▀░████▓░▀║ historical formality. It's faithful to OMD, ║▀░▓████░▀▄
▄▀░████▓░▀║ Kraftwerk, and a lot of other technocratic ║▀░▓████░▀▄
▄▀░████▓░▀║ future-music made mostly in England and Western ║▀░▓████░▀▄
▄▀░████▓░▀║ Europe during the 1970s and 80s. Here, Darkstar's ║▀░▓████░▀▄
▄▀░████▓░▀║ beauty is the cold kind. They walk the empty ║▀░▓████░▀▄
▄▀░████▓░▀║ streets in military rhythms and luxuriate in ║▀░▓████░▀▄
▄▀░████▓░▀║ solitude. They cover the Human League. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ This development will surprise anyone who ║▀░▓████░▀▄
▄▀░████▓░▀║ followed the singles Darkstar released between ║▀░▓████░▀▄
▄▀░████▓░▀║ 2007 and 2009, when they were another dubstep ║▀░▓████░▀▄
▄▀░████▓░▀║ production group trying hard to develop a ║▀░▓████░▀▄
▄▀░████▓░▀║ signature sound in the context of a genre that ║▀░▓████░▀▄
▄▀░████▓░▀║ changes every month. By last October's "Aidy's ║▀░▓████░▀▄
▄▀░████▓░▀║ Girl's a Computer" (included here), they'd ║▀░▓████░▀▄
▄▀░████▓░▀║ arrived at something refined, melancholy, and ║▀░▓████░▀▄
▄▀░████▓░▀║ lighter than most of the other singles on ║▀░▓████░▀▄
▄▀░████▓░▀║ Hyperdub, a label responsible for some of ║▀░▓████░▀▄
▄▀░████▓░▀║ dubstep's most rigorous and forward-thinking ║▀░▓████░▀▄
▄▀░████▓░▀║ downers (Burial, King Midas Sound, Kode9, etc.). ║▀░▓████░▀▄
▄▀░████▓░▀║ "Aidy's" has a simple backdrop: A skipping drum ║▀░▓████░▀▄
▄▀░████▓░▀║ loop borrowed from British two-step, a ║▀░▓████░▀▄
▄▀░████▓░▀║ synthesized glockenspiel or xylophone repeating a ║▀░▓████░▀▄
▄▀░████▓░▀║ subtle, shifting pattern, and some minimal, ║▀░▓████░▀▄
▄▀░████▓░▀║ surface-level synth-bass. The innovation was in ║▀░▓████░▀▄
▄▀░████▓░▀║ the song's narrators: A series of buzzing synth ║▀░▓████░▀▄
▄▀░████▓░▀║ lines that flicker in and out like their ║▀░▓████░▀▄
▄▀░████▓░▀║ connection to the rest of the song doesn't quite ║▀░▓████░▀▄
▄▀░████▓░▀║ work, and a heavily processed vocal that cuts ║▀░▓████░▀▄
▄▀░████▓░▀║ itself off halfway into each word it tries to ║▀░▓████░▀▄
▄▀░████▓░▀║ say. The track's conceptual elegance was that it ║▀░▓████░▀▄
▄▀░████▓░▀║ invoked the same kind of existential anxieties ║▀░▓████░▀▄
▄▀░████▓░▀║ synth-pop was basically built to-- like how to ║▀░▓████░▀▄
▄▀░████▓░▀║ exist as a human being in a computer world-- in ║▀░▓████░▀▄
▄▀░████▓░▀║ ways that sounded contemporary and eerie, which ║▀░▓████░▀▄
▄▀░████▓░▀║ is part of what makes North a little ║▀░▓████░▀▄
▄▀░████▓░▀║ disappointing: In a way, Darkstar were already on ║▀░▓████░▀▄
▄▀░████▓░▀║ their way to making a record that would've made ║▀░▓████░▀▄
▄▀░████▓░▀║ North feel obsolete. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ For most of North, James Young and Aiden Whalley, ║▀░▓████░▀▄
▄▀░████▓░▀║ Darkstar's principals, worked with a more ║▀░▓████░▀▄
▄▀░████▓░▀║ traditionally human-sounding vocalist, James ║▀░▓████░▀▄
▄▀░████▓░▀║ Buttery. There's a little vocal surgery, a little ║▀░▓████░▀▄
▄▀░████▓░▀║ rearranging, but Buttery would never pass for a ║▀░▓████░▀▄
▄▀░████▓░▀║ computer, and that's obviously by design-- in ║▀░▓████░▀▄
▄▀░████▓░▀║ this setting, he's the stunted soul just trying ║▀░▓████░▀▄
▄▀░████▓░▀║ to salvage a little humanity in the ║▀░▓████░▀▄
▄▀░████▓░▀║ post-industrial darkness. His environment-- ║▀░▓████░▀▄
▄▀░████▓░▀║ tapestries of two-dimensional synthesizers ║▀░▓████░▀▄
▄▀░████▓░▀║ humming in minor keys, drum machines chirping and ║▀░▓████░▀▄
▄▀░████▓░▀║ clicking away in mid tempos-- is more familiar ║▀░▓████░▀▄
▄▀░████▓░▀║ than "Aidy's". It's beautiful, too, and barely ║▀░▓████░▀▄
▄▀░████▓░▀║ budges. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ Obviously there's no fault in returning to ║▀░▓████░▀▄
▄▀░████▓░▀║ synth-pop templates or ideas in the 00s-- the ║▀░▓████░▀▄
▄▀░████▓░▀║ Junior Boys have done it well, and the Knife have ║▀░▓████░▀▄
▄▀░████▓░▀║ done it even better. But the problem with this ║▀░▓████░▀▄
▄▀░████▓░▀║ music is that the longer it's left out to blend ║▀░▓████░▀▄
▄▀░████▓░▀║ into the general culture, the harder bands have ║▀░▓████░▀▄
▄▀░████▓░▀║ to work to keep it sounding inventive. I've been ║▀░▓████░▀▄
▄▀░████▓░▀║ this kind of sad before, so when I hear it now-- ║▀░▓████░▀▄
▄▀░████▓░▀║ on an album like North-- it's almost as nostalgia ║▀░▓████░▀▄
▄▀░████▓░▀║ for a certain familiar feeling than the feeling ║▀░▓████░▀▄
▄▀░████▓░▀║ itself. ║▀░▓████░▀▄
▄▀░████▓░▀║ ║▀░▓████░▀▄
▄▀░████▓░▀║ North is definitely Hyperdub's most pop-friendly ║▀░▓████░▀▄
▄▀░████▓░▀║ release, but it's also one of its most ║▀░▓████░▀▄
▄▀░████▓░▀║ conservative-- not a bad thing, just an ║▀░▓████░▀▄
▄▀░████▓░▀║ interesting one given the importance label ║▀░▓████░▀▄
▄▀░████▓░▀║ integrity plays in the electronic dance music ║▀░▓████░▀▄
▄▀░████▓░▀║ world. And while North doesn't compromise that ║▀░▓████░▀▄
▄▀░████▓░▀║ integrity, it's the first time that a label so ║▀░▓████░▀▄
▄▀░████▓░▀║ concerned with the future ended up with a record ║▀░▓████░▀▄
▄▀░████▓░▀║ so committed to the past. ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╠════════════════════════════════════════════◄QUOTES►╢╣███▓░░ ▄ ▄
░▄▄ ▀▀██████║ ║██████▀▀ ▄▄░
▀░▓███████▄▄║ A poet once said, "The whole universe is in a ║▄▄███████▓░▀
▀░▓███████▄▄║ glass of wine." We will probably never know in ║▄▄███████▓░▀
▀░▓███████▄▄║ what sense he meant that, for poets do not write ║▄▄███████▓░▀
▀░▓███████▄▄║ to be understood. But it is true that if we look ║▄▄███████▓░▀
▀░▓███████▄▄║ at a glass of wine closely enough we see the ║▄▄███████▓░▀
▀░▓███████▄▄║ entire universe. ║▄▄███████▓░▀
▀░▓███████▄▄║ ║▄▄███████▓░▀
▀░▓███████▄▄║ -- Richard Feynman ║▄▄███████▓░▀
░▓█████▄░░ ▄║ ║▄ ░░▄█████▓░
░▄▄ ▀▀██████╟◄──────────────────────────────────────────────────►╢██████▀▀ ▄▄░
▀░▓███████▄▄╠════════════════════════════════════════════════════╣▄▄███████▓░▀
▄▄▀▀██████╟────────────────────────────────────────◄GROUP NEWS►╢██████▀▀ ▄▄░
▄░▓███████▄║ DeBT is in need of SECURE affils ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ pre-release suppliers, bookware ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ suppliers, iNT rippers, shell accounts, ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ coders, crackers and anything else ║██▄▄░░
▄▄░▀█████║ ║██████▀░▄▀
░▓█████▓░║ that may be of use to us. ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ DeBT is dedicated to bringing ║░▓████░ ▀
▀░████▓║ ║▓████░▀
▄ ░░▓███║ you the best of the old, new and forgotten in a ║███▓░░ ▄ ▄
▄▄▀▀██████║ ║██████▀▀ ▄▄░
▄░▓███████▄║ variety of sections. If you think you have ║▄▄███████▓░▀
░▓█████▄░░ ║ ║▄ ░░▄█████▓░
░████▓░░▀ ║ what it takes don't hesitate to contact us. ║░ ▀░░▓████░▀
░▓███▓▓░ ║ ║▄ ░▓▓███▓░
▀▀░███▓░▄▄║ Keep it scene. Keep it safe. ║░▄▄░▓███░▀▀
▀ ▄███▀░║ ║░░▀███▄ ▀
░░▄▄█║ ║██▄▄░░
▄▄░▀█████║ C O N T A C T D e B T ║██████▀░▄▀
░▓█████▓░║ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ║░▓█████▓░
░▓████▓░░║ ║░░▓████▓░
▄▀░████▓░▀║ DeBTisSlaV3rYSTuPiD@GMail.com ║▀░▓████░▀▄
░ ▀▓████▀ ║ ║▄░████▓▀ ░
▀ ░████▓▄║ ║░▓████░ ▀
▀░████▓╟◄──────────────────────────────────────────────────►╢▓████░▀
▄ ░░▓███╚════════════════════════════════════════════════════╝███▓░░ ▄ ▄
▄▄▀▀████████████▀▀▄▄ ▄▄▀▀████████████▀▀ ▄▄░
▄░▓███████▄▄███████▓░▄ ▄░▓███████▄▄▄███████▓░▀
░▓█████▄░░ ░░▄█████▓░ ░▓█████▄░░ ▄ ░░▄█████▓░
░████▓░░▀ ▀░░▓████░ ░████▓░░▀ ░ ▀░░▓████░▀
░▓███▓▓░ ░▓▓███▓░ ░▓███▓▓░ ▄ ░▓▓███▓░
▀▀░███▓░▄▄▄▄░▓███░▀▀ ▀▀░███▓░▄▄░▄▄░▓███░▀▀
▀ ▄███▀░░▀███▄ ▀ ▀ ▄███▀░░░▀███▄ ▀
░░▄▄██▄▄░░ ░░▄▄███▄▄░░
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° ܲÛÛÛÛ 4 Aidy's Girl Is a Computer 5:11 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 5 Under One Roof 4:31 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 6 Two Chords 3:58 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 7 North 3:53 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 8 Ostkruez 2:30 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 9 Dear Heartbeat 3:43 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ 10 When It's Gone 3:58 ÛÛÛÛ²Ü °
° ܲÛÛÛÛ ---------------------------------------------------------ÛÛÛÛ²Ü °
ßÜ°ÛÛÛÛ² ÛÛÛÛ°Üß
°²ÛÛÛÛ²Ü TOTAL TiME: 39:35 MIN ÛÛÛÛ²°
°²ÛÛÛÛÛÛÛÜ TOTAL SIZE: 70.85 MBÜÛÛÛÛÛ²°
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°²ÛÛÛÛÛ²°ÇÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄRELEASE NOTES¶°²ÛÛÛÛÛ²°
°²ÛÛÛÛ²°°º º°°²ÛÛÛÛ²°
Üß°ÛÛÛÛ²°ßº North is a synth-pop album, and not synth-pop ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº like general concept but synth-pop like ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº historical formality. It's faithful to OMD, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Kraftwerk, and a lot of other technocratic ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº future-music made mostly in England and Western ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Europe during the 1970s and 80s. Here, Darkstar's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº beauty is the cold kind. They walk the empty ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº streets in military rhythms and luxuriate in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº solitude. They cover the Human League. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº This development will surprise anyone who ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº followed the singles Darkstar released between ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº 2007 and 2009, when they were another dubstep ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº production group trying hard to develop a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº signature sound in the context of a genre that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº changes every month. By last October's "Aidy's ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Girl's a Computer" (included here), they'd ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº arrived at something refined, melancholy, and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº lighter than most of the other singles on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Hyperdub, a label responsible for some of ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº dubstep's most rigorous and forward-thinking ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº downers (Burial, King Midas Sound, Kode9, etc.). ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº "Aidy's" has a simple backdrop: A skipping drum ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº loop borrowed from British two-step, a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº synthesized glockenspiel or xylophone repeating a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº subtle, shifting pattern, and some minimal, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº surface-level synth-bass. The innovation was in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº the song's narrators: A series of buzzing synth ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº lines that flicker in and out like their ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº connection to the rest of the song doesn't quite ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº work, and a heavily processed vocal that cuts ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº itself off halfway into each word it tries to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº say. The track's conceptual elegance was that it ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº invoked the same kind of existential anxieties ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº synth-pop was basically built to-- like how to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº exist as a human being in a computer world-- in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ways that sounded contemporary and eerie, which ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº is part of what makes North a little ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº disappointing: In a way, Darkstar were already on ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº their way to making a record that would've made ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº North feel obsolete. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº For most of North, James Young and Aiden Whalley, ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Darkstar's principals, worked with a more ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº traditionally human-sounding vocalist, James ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Buttery. There's a little vocal surgery, a little ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº rearranging, but Buttery would never pass for a ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº computer, and that's obviously by design-- in ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº this setting, he's the stunted soul just trying ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº to salvage a little humanity in the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº post-industrial darkness. His environment-- ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº tapestries of two-dimensional synthesizers ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº humming in minor keys, drum machines chirping and ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº clicking away in mid tempos-- is more familiar ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº than "Aidy's". It's beautiful, too, and barely ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº budges. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Obviously there's no fault in returning to ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº synth-pop templates or ideas in the 00s-- the ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº Junior Boys have done it well, and the Knife have ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº done it even better. But the problem with this ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº music is that the longer it's left out to blend ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº into the general culture, the harder bands have ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº to work to keep it sounding inventive. I've been ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº this kind of sad before, so when I hear it now-- ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº on an album like North-- it's almost as nostalgia ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº for a certain familiar feeling than the feeling ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº itself. ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº North is definitely Hyperdub's most pop-friendly ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº release, but it's also one of its most ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº conservative-- not a bad thing, just an ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº interesting one given the importance label ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº integrity plays in the electronic dance music ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº world. And while North doesn't compromise that ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº integrity, it's the first time that a label so ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº concerned with the future ended up with a record ºß°²ÛÛÛÛ°ßÜ
Üß°ÛÛÛÛ²°ßº so committed to the past. ºß°²ÛÛÛÛ°ßÜ
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Ü°²ÛÛÛÛÛÛÛܺ DeBT is in need of SECURE affils ºÜÜÛÛÛÛÛÛÛ²°ß
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