Very busy and distracted right now.
I mean, between ripping off scribd so I can get hold of two books about Czech cinema so I can scrape several needed essays and spending the last 3 hours trying to juggle 4 or 5 different things in the air, then you’re lucky that I’m actually devoting the 30 minutes that’s needed to get these words down to inform you of something that I think that you really need to hear.
You’ve gotta hand it to Nick “Ekoplekz” Edwards. The man is like the neo-industrial energizer bunny in how me conducts his music making endeavors today. He could have been like my good self and just settled with writing about music under his Gutterbreakz name (I’m currently working my way through his archives. the fucker is so right about Paul McCartney!), But instead he’s gone back to the dark side and has been carving out urban inflected beats made from the broken flotsam of lo-fi hardware, unsettling hauntological memories of misspent youth, and shattered acid dub dreamz of our post-rave society. Like contemporaries such as Shackleton and regular collaborator Baron Mordant, he’s managed to find and carve out his own negative zone where despite the constant digital deluge of music occurring these days, hardly anyone is doing what he’s doing. It’s actually very refreshing in its uniqueness.
The first I heard of his music was back a few year ago when I heard his “Pro Rebus” track on you tube. Can’t remember where from though, probably on Simon Reynolds’ blog most likely. But since then I’ve been keeping a fairly close tab on his stuff and thee’s been a fair slew of tapes, mixes, CDrs and downloads over the last few years. Some of CDr albums I’ve heard such as tended to be more abstract in structure, coming close to corrosive noise. I personally found myself warming more to the stream of EPs that he’s done with Mordant Music, Public information and Perc Trax, where he mixes fractured and splintered melodic lines and loops with some heavy modern dub leanings (check here, here and here for further listening). But what’s been really interesting is his collaborations with Bass Clef (Ekoclef) and with Mordant Music (eMMplekz). eMMplekz in particular last year produced the amazing “Nothing In Here Of Any Value / No Show” 12″, and the seething misanthropic “Your Crate Has Changed,” which were both essential 2013 listens up here at chez Sex Farm.
And now 2014 seems him inching slowly but surely into the big time with “Unfidelity,” on Planet Mu records. You can tell right away that his sound is now much more refined, with a lot more work going into the production and mastering, But despite the glistening oscillating waveforms, it’s still undeniably an Ekoplekz record to the core. in some points he’s tapping into that plasmic, tactile aspect of early Aphex Twin in how the both seem to be informed by their SW England environs, Aphex Twin with Cornwall, Nick with the Bristol area. “Severn Beach” captures the ambiance of post industrial semi-urban life next to the sea, echoing the smells and flashbacks to my own homesteads back in shetland and The Wirral. Meanwhile you’ve got punning titles like “Sleng Zen” that warps and pays homage to the Bristol dub legacy.
Since I bought the album last month, I’ve found myself wallowing in its mossy analogue trenches and always end up coming out at the end smelling of roses. And from seeing the positive response to “Unfidelity” across the board (Even from th sad sack dad rock magazines), It´s so good to see Nick finally getting some form of reward and recognition for his efforts. Just listening to his music is giving me scheming ideas… lots of them
Do him a favour and get his album from Planet Mu, HERE, right??