Nov 26, 2014 Now for the first time Australia will get the chance to experience the live show that saw Thom Yorke invite the artist to be the official support on the Atoms for Peace 2013 US tour. Playing tracks from The Inheritors alongside his unique back catalogue, James Holden live is a mind boggling experience. James Holden will release his second album, The Inheritors, through Border Community in June. Named after a William Golding book, the album was crafted using Holden's analogue modular system and hand-coded computer programs, which he used to build a series of unique analogue-digital machines. James Holden & Camilo Tirado / Luke Abbott. James Holden – The Inheritors. The Inheritors find Holden attempting to make an electronic record as far. Grouper’s super-rare 2011 7” “Water People. James Holden - The Inheritors (2013) FLAC Techno, Experimental, Drone, IDM HOLDEN - The Inheritors - Amazon.com Music Amazon Try.
Il produttore britannico James Holden debuttò con The Idiots are Winning (Border Community, 2006), un album che sembrava esplorare il lato pastorale ed estatico deiBoards Of Canada, mostrando al contempo una forte personalità musicale. La performance percussiva virtuosa di Lump viene accoppiata ad un inno melodico in crescendo, nonostante la prima sia intrisa di tempestose distorsioni. Il beat sottilmente sincopato di 10101 viene spazzato via da una minacciosa sporcizia galattica, prima di correggersi in una locomotiva techno vecchio stile.
Qualcosa di simile accade in Idiot, il picco dell'album, che vanta lo stesso grado di sincope e termina con lo stesso tipo di battito, massiccio, apocalittico, mentre la tastiera intona un inno androide. Un robusto beat-guida emerge anche dalla jam spaziale Corduroy, mentre Flute è una vignetta horror-industriale. Gli ultimi quattro brani sono puri riempitivi (un brano è persino Intentionally Left Blank), ma i primi sei mettono in mostra una creatività in grado di battere tutta la concorrenza.
Il tentacolare The Inheritors (Border Community, 2013) si apre con Rannoch Dawn, un ouverture che fonde hard rock, giga folk e ripetizione minimalista. La ripetizione diviene il motivo principale, nei brani che seguono: A Circle Inside A Circle, la gorgogliante elettronica vintage di The Illuminations, la più turbolenta e angosciosa The Inheritors, e soprattutto la novelty da dancefloor a làNew OrderRenata. Dopo qualche istante, però, la ripetizione si fa un po' troppo...ripetitiva.
Il metodo fa miracoli nella frenesia psichedelica, con tanto di caos free-jazz, di The Caterpillar's Intervention (che però si dilunga troppo); nella corrente agonizzante di Sky Burial, guidata da un accordion/organo da requiem; e nel notturno cadenzato Seven Stars, che muta in una vertigine psichedelica e neoclassica e finisce con un'orgia di dissonanze.
Un drone da bombardiere introduce lo shuffle di otto minutiBlackpool Late Eighties, ma il tema eccessivamente melodico che segue non finisce da nessuna parte.
Questo album rappresenta un passo indietro in immaginazione e creatività.
James Holden has been working in the outer limits of experimental electronic music for almost 15 years now. His Border Community record label has become a byword for ambitious and progressive electronic music over the past decade. Holden’s debut album, 2006’s The Idiots Are Winning, established him as a singularly wondrous and unique producer in his own right. Since that striking debut though, Holden has kept a relatively low profile as an artist in his own right. His seven-year absence from recording makes his second album The Inheritors all the more special.
The Inheritors again sees Holden embarking on a quest to the outer reaches of electronica. It’s a sound quite unlike any other producer’s. Placeless, formless and timeless, his sound patters are indicative of a dazzling musical mind. Experimentation isn’t an indulgence for James Holden; it’s at the core of his musical being.
The Inheritors (named after a William Golding novel) takes much of its influence from the most primitive of musical forms. Ritualistic pagan folk music, ceilidh and traditional musical instrumentation are warped by Holden into something quite beguiling. He describes contemporary raves and clubs as akin to mythical pagan rituals, experiences of communal release. The strange and oblique music he provides is described by the artist as rave music in its truest form. This is rave music, however, warped into something quite different. The eerie, displaced piercing noise of opening track Rannoch Dawn is suggestive of an otherworldly sound. The track sounds like a chugging steam train lurching into life. Over the course of its four and a half minutes, a crude ragged beat and sense of discordant rhythm only emerges in its final 90 seconds. It’s one of very few traditional kick drumbeats that feature on the album.
Elsewhere the dissonant and the off-kilter flourish. The music is deceptively complex. Each instrument and sound is played by Holden himself. Running through each of the 15 songs is an evocative sense of atmosphere shaped by the landscape and an almost mythical grandeur. At its most stirring moments, much of The Inheritors sounds stunning. The mangled distressed polyrhythm’s of Renata build to a superlative clangourous climax while InterCity 125 is a wonderful spectral cry, equally bewitching and elusive.
Throughout The Inheritors, you repeatedly get the sense that Holden is not content to just push musical boundaries; he wants to push through those boundaries into something new altogether. Holden recognises that his music has to exist outside of dance music’s traditional parameters. Intense and bristling tracks like Gone Feral, as rough hewn and visceral as its title suggests, are a perfect example of his vaulting ambition.
It does not always come off on the album – the middle section of the record is rather more low-key. However, even these weaker moments play a key role in the functioning of the whole. The album’s penultimate track and eight minute centrepiece is astonishing. Blackpool Late Eighties is spaced out ambient techno that perfectly evokes the feeling of lost lands and new discovery. It exists in a middle ground between the future and the past. It’s perhaps the perfect sonic representation of this album and James Holden’s mindset.
James Holden Malta
The Inheritors is a rich and vivid work that is as mysterious as it is compelling. For James Holden it is an album that sees him beginning to move beyond an acclaimed producer and DJ into a true composer and electronic visionary.