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  • The Journey Man The Journey Man Quick View

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    The Journey Man

    "In my music," says Goldie, "is everything I've learned, everyone I've met, everything I've experienced." And it's been an incredible trip. The maverick innovator - who rewrote the future of the jungle scene with landmark releases that still sound like they were kidnapped from tomorrow - has a unique story to tell. From children's homes in the West Midlands through stints in New York and Miami as one of the UK's most celebrated exponents of graffiti art to rubbing shoulders with an exceptional list of musical collaborators including David Bowie, Noel Gallagher and KRS-One, Goldie has defiantly, definitively, done it his own way. "I'm an alchemist," he likes to insist. "I practice the dark arts of messing with the form of something solid."


    Though marriage and his passion for bikram yoga have, he says, proved a calming influence, these days he's just as full of inspired, out-there ideas as he was back in 1993 when he did his first cover interview for the rave magazine Generator. "My music is about fallout," he said then, "about the damage that has been done to the system." Today, in the office of one of his London-based contacts, the ideas are still sparking. "Drum'n'bass has done to electronic music what graffiti has done to the art world," he muses, before launching into a rapid-fire synthesis of art history, dancefloor evolution and his own hyperactive brand of self-actualization, which loosely translates as: "Why do something ordinary when you can do something extraordinary?"


    It sums up the reason why, in 1994, music critic Simon Reynolds famously observed: "Goldie revolutionized jungle not once but three times. First, there was Terminator (pioneering the use of time stretching), then Angel (fusing Diane Charlemagne's live vocal with David Byrne/Brian Eno samples to prove that hardcore could be more conventionally musical), now there's Timeless, a 22-minute hardcore symphony." Each of these were moments that shaped the musical fabric of the decade and beyond, presaging Goldie's transition from the underground rave scene into the world of bona fide A- list superstars.


    But it didn't start out like that. The boy who would become Goldie was born Clifford Price on 19 September 1965, just as The Rolling Stones hit the top of the charts with Satisfaction. His dad Clement, originally from Jamaica, had been plying his trade as a foundryman in Leeds. His mum Margaret, who had been born in Glasgow, was a popular singer in the pubs and clubs of the West Midlands. Barely more than a toddler, Goldie was just three when she placed him into foster care (though she kept his younger brother Melvin). He still remembers, he says, the day the social workers came to take him away.


    Over the next 15 years, he bounced between a series of foster homes and local government institutions around the Walsall area. His eclectic musical taste was forged, he reckons, in those same local authority homes listening to the sonic tangle of other teenagers' record collections. "In one room," he says, "a kid would be playing Steel Pulse while through the wall someone else had a Japan record on and another guy would be spinning Human League." On rare visits to see his dad, he'd lie sprawled over the living room couch, listening to Jazz FM, marveling at the lavishly-tooled '80s productions of Miles Davis, Pat Metheny, David Sanborn and Michael Franks, adding further layers to his complex musicography.


    Already developing the irresistible urge to excel that has marked his inimitable musical career, Goldie's first love was roller-hockey. He earned a place as goalkeeper in England's national squad before the lure of music overtook the lure of sport. After discovering electro and hip hop, he grew his hair - the "goldilocks" that won him his nickname - and joined a breakdance crew called the B-Boys in nearby Wolverhampton. He also discovered graffiti. "They called me 'the spray can king of the Midlands'," he says proudly. His talent was undeniable, bringing him to the attention not only of Britain's Arts Council but to Dick Fontaine, producer of a Channel 4 TV documentary on graffiti. Fontaine's 1987 film Bombin' captured a visit to the UK by New York artist Brim Fuentes. Brim met Goldie and his B-Boys crew in Wolverhampton's Heathtown before heading a dozen miles away to Birmingham's Handsworth, where the producer filmed the aftermath of rioting that had left four dead, 35 injured and dozens of stores burned out. Several months later, Fontaine reversed the process and took Goldie to New York, introducing him to hip-hop pioneer Afrika Bambaataa. For Goldie, on his first trip abroad, never mind his first trip over the Atlantic, the Big Apple was love at first sight. Back in Britain, he begged, borrowed and saved until he had enough to fund a return trip to the Bronx.


    "I started painting the trains and getting involved on the streets," he says, remembering his total immersion in what was still, at that point, an emerging culture. Art and music as symbiotic technologies. Rubbing shoulders with the Big Apple's best graffiti artists, his own distinctive style was accelerated and enriched. A move to Miami followed. He worked in the flea markets, he says, "painting trucks for drug dealers" and developing a sideline in gold jewelry that included the distinctive grills that became a trademark on his return to the UK. The magical properties of shaping, working and bending precious metals to his will - as close to alchemy as the modern world gets - became an analogue for the way he prefers to operate in the studio, chasing quicksilver dreams, mercury-fast rivulets of imagination into impossibly lush, breakbeat concertos. Back in Britain, Goldie found himself seduced by the sweetheart of the rave. Though it took him eight attempts to get entry into the club, at London's Rage in 1991 he marveled at the alternate sonic worlds being forged by Fabio and Grooverider behind the decks. "It really flipped me out," he remembers. Soon he found himself in the orbit of Dego McFarlane and Mark Clair. Their label Reinforced was in the vanguard of breakbeat, issuing astonishing records that stripped out boundaries and limits while setting the tone for the scene's sense of adventure. At first, he helped out doing artwork and a bit of A&R. But soon he was in Reinforced's Internal Affairs studio watching intently as Mark and Dego recorded tracks like Cookin' Up Ya Brain and Journey From The Light. "I was watching what they could do," says Goldie, "trying to gauge the possibilities of the technology." Soon he was getting involved. "I remember one session we did that lasted over three days," he says, "just experimenting, pushing the technology to its limits. We'd come up with mad ideas and then try to create them. We were sampling from ourselves and then resampling, twisting sounds around and pushing them into all sorts of places."


    What followed was a series of inspired break-driven releases such as Killa Muffin, Dark Rider and Menace. Then Terminator, with its writhing drum loop, dropped and suddenly Goldie's name was on everyone's lips. He followed up with the equally revolutionary Angel, tilting the axis towards the lush, trippy textures that made 1995's debut album Timeless the drum'n'bass scene's first platinum album. Incredibly, given what was happening elsewhere in the scene at the time, the recording of the album's epic title track began as far back as 1993, when most other producers were still focused on the original sonic tropes of hardcore rave.


    Timeless was a masterpiece - of production, of songwriting, of sonic perfection and breakbeat futurism. Even today, it still sounds as astonishingly new and inspired as it did back on those early pre-release cassettes circulated by London Records in the early months of 1995 when Goldie was still living on the 18th floor of a North London tower block.


    By then, Goldie had already set up his own record label - Metalheadz - with his friends the DJ duo Kemistry and Storm. Along with studio collaborator, Rob Playford's Moving Shadow and LTJ Bukem's Looking Good imprint, Metalheadz helped to define drum'n'bass as a distinct musical format with singles by J Majik, Asylum and Goldie himself. Still bursting with energy, he then launched a legendary club night, Metalheadz Sunday Sessions, at London's Blue Note. The scene's best producers - among them revolutionary artists like Photek, Source Direct, Peshay and Dillinja - would compete to have their latest recordings debuted at the club and the scene's faithful came from far and wide to hear the best tunes before anyone else. "Those nights at the Blue Note were magical," he recalls. "It was an underground phenomenon that became an institution." David Bowie, who was making the drum'n'bass-influenced album Earthling at the time, fell in love with the place. "I remember popping out to take a break from all the madness inside the club," says Goldie. "He was outside having a cigarette, a bit of a breather. We chatted for a bit, looked at each other, grinned and then plunged back into it all. It was just that kind of place."


    Goldie is one of only a handful of artists ever to co-write with Bowie - on the track Truth from the drum'n'bass pioneer's second album Saturnz Return. Released in 1998, the album also saw his vision become more expansive (the opening track, Mother, clocked in at just over an hour). The album's collaborative approach included guest spots from rap legend KRS-One, Sex Pistols manager and all-around provocateur Malcolm McLaren, super-producer Trevor Horn and Oasis main man Noel Gallagher (on the single Temper Temper).


    Fuelled by the limitless creativity that has been the hallmark of his career to date, Goldie next turned to acting. He reunited with Bowie in Andrew Goth's 1999 thriller Everybody Loves Sunshine then took the part of Bullion in the 1999 James Bond movie The World Is Not Enough. Other box office smashes - including Guy Ritchie's crime heist caper Snatch - followed before he joined the cast of BBC1 soap opera EastEnders, playing the gangster Angel Hudson.


    A series of blockbuster TV appearances - on shows such as Maestro (where he learned to conduct an orchestra), Classic Goldie (which saw him perform his own orchestral composition at the Royal Albert Hall in the summer of 2009) and Goldie's Band: By Royal Appointment.


    The orchestral training proved useful. In 2014, he translated his original vision for Timeless into the stunning Timeless (Sine Tempore). Performed live with the Heritage Orchestra at the Wilderness Festival to suitably rapturous acclaim, the performance was repeated the following year as part of the Meltdown Festival at London's Royal Festival Hall. In between, he found time to unveil Fragments Of Gold, a piece inspired by medieval chants that he performed live in Glasgow Cathedral.


    Drum'n'bass, of course, has remained a consistent passion, both through his Metalheadz label and his releases under the Rufige Kru moniker (2007's Malice In Wonderland and 2009's Memoirs Of An Afterlife). "Technologically," he says, "breakbeat has managed to surpass all other forms of music to date. There isn't a recording engineer alive who can tell me there's any other form of music that is more complex than the music we make." Goldie has also recently announced he will be releasing a brand new double album 'The Journey Man' this year. The album comprises two parts, 16 brand new tracks in total, all written and produced by Goldie. It also features a host of collaborators handpicked by Goldie to help realize his vision for the album.


    "I often look at music not so much as a producer but like a director. You're drawing together engineers, performers and arrangers to create something special, something magical. It's like alchemy. The notes, the music, the lyrics, they're all in my head and each element has to be communicated and brought to life to create the finished track. I'm always inspired by great movie directors - people like Stanley Kubrick and PT Anderson - and, if you think about it, it's quite a similar approach. They start off with a vision and then they use that vision to deploy the actors and the cameramen and the editors in order to create the finished film."


    Collaborators on 'The Journey Man' album include vocalist and songwriter Natalie Duncan, who was discovered when chosen in the three-part BBC series 'Goldie's Band By Royal Appointment' and later provided the vocals for Goldie's 2012 single 'Freedom'. Other featured vocalists on the album include Terri Walker, Tyler Lee Daly, Natalie Williams, JosÉ James, Naomi Pryor as well as Goldie's wife, Mika Wassenaar Price.


    'The Journey Man' will be released through Cooking Vinyl and Goldie's own record label, Metalheadz.


    Goldie's love affair with painting has remained consistent too and he continues to exhibit visual work that's just as dazzling as his sonic output. Beginning with Night Writers, the 1986 exhibition at Wolverhampton's art gallery that introduced Goldie and his Supreme Graffiti Team to the British Arts Council, his shows have defined a unique aesthetic that's all his own. And through them all, from 1987's Rockin' The City in Birmingham (where he exhibited alongside Massive Attack's Robert Del Naja) and the 1988 Crucial Creators exhibition in Walsall to more recent gallery events like 2007's Love Over Gold and 2012's Athleticizm collection (including portraits of London Olympics stars such as Victoria Pendleton, Tom Daley and Jessica Ennis), runs a consistent thread of energy, experimentalism and boundary-pushing. His 2013 collection, Lost Tribes, an innovative series of pieces fusing Goldie's style with the artistic expression of the ancient peoples of Africa, Asia and America was, he says, "my most important breakthrough".


    And for the kid who lay awake, gazing at the stars, through the window of a children's home, growing up has brought some surprises. In 2012, he was selected as one of the BBC's New Elizabethans, 60 people - ranging from David Hockney to Roald Dahl, David Bowie and Tim Berners-Lee - who have helped shape British culture during the reign of Elizabeth II. Four years later, he was awarded the MBE in the Queen's New Year Honours. It's acceptance, of course, on a grand scale. But at heart, he's still the gatecrasher, amped-up on ideas, buzzing on nothing but love, hope and the certainty that, while his way might not be the easy way, it's very definitely the path of a true artist.


    - Tim Barr, 2017

    LP 1
    1. Horizons (feat. Terri Walker & Swindle)
    2. Prism
    3. Mountains
    4. Castaway
    5. The Mirrored River


    LP 2
    1. I Adore You (w/ Ulterior Motive)
    2. I Think of You
    3. Truth (feat. Jose James)
    4. Redemption


    LP 3
    1. Tu Viens Avec Moi?
    2. The Ballad Celeste
    3. This Is Not A Love Song
    4. The River Mirrored (feat. Terri Walker)
    5. Triangle
    6. Tomorrow's Not Today
    7. Run Run Run

    Goldie
    $35.99
    Vinyl LP - 3 LPs Sealed Buy Now
  • Sinister (Pre-Order) Sinister (Pre-Order) Quick View

    $18.99
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    Sinister (Pre-Order)

    After decades in this crazy music business, we will sit down for the first time and record songs TOGETHER for an amazing new studio album! The album will feature both new songs and classic tracks from our history! This is very exciting for us as we will have, as Ringo said, 'A Little Help from My/Our Friends'. With that in mind, the result will be great sounding spine-shaking rhythmic foundations, along with BIG giant melodic guitars from hell, and on top, blazing vocals and melodies that will tear it all up! A first in a lifetime for us brothers! say Carmine and Vinny. Expect some great friends/guests to contribute to this album including Joel Hoekstra (Whitesnake), Paul Shortino (Quiet Riot, Rough Cutt), Johnny Rod (WASP, King Kobra), Craig Goldy (Dio), Tony Franklin (The Firm, Blue Murder) and members of Last In Line among others. Carmine says: I am so excited to be doing this new Appice album. It is always a challenge and fun doing music with Vinny. This album is no exception and we will be doing cool songs with double drumming and lots ear candy for our fans, not to mention playing with some of our special friends. The recording process is coming out great. Cannot wait to finish and take it on the road! Heavy drums and heavy songs. It will kill! Vinny adds: A studio album that was years in the making has now come to life! Our first ever studio album together. With great songs, musicians and of course drums and rhythms that will overwhelm your ears and fascinate your mind!
    LP 1
    1. Sinister
    2. Monsters And Heroes
    3. Killing Floor
    4. Danger
    5. Drum Wars
    6. Riot
    7. Suddenly


    LP 2
    1. In The Night
    2. Future Past
    3. You Got Me Running
    4. Bros In Drums
    5. War Cry
    6. Sabbath Mash

    Appice
    $18.99
    Vinyl LP - 2 LPs Sealed PRE-ORDER Buy Now
  • LONG.LIVE.A$AP (Deluxe Version) LONG.LIVE.A$AP (Deluxe Version) Quick View

    $29.99
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    LONG.LIVE.A$AP (Deluxe Version)

    Prominent hip-hop rising star A$AP Rocky presents LONG.LIVE.A$AP. The album will feature the buzz worthy "Goldie" and the Noah "40" Shebib produced hit, "F**kin' Problems" featuring hip-hop elites Drake, 2 Chainz and Kendrick Lamar, which was recently most added at urban and rhythm radio and continues to dominate airwaves.


    Executive produced by A$AP Rocky and A$AP Yams, the LONG.LIVE.A$AP release will also feature guest appearances by Schoolboy Q, Santigold, Joey Bada$$, Yelawolf, Danny Brown, Action Bronson and Big K.R.I.T. A$AP Rocky takes the reins as producer and co-producer on several tracks along with Danger Mouse, Jim Jonsin, Rico Love, Clams Casino, Skrillex, Hit-Boy and more.


    This deluxe version of LONG.LIVE.A$AP contains the original version's 12 tracks, plus 4 additional tracks, including "I Come Apart" featuring Florence Welch and "Ghetto Symphony" featuring Gunplay & A$AP Ferg.

    LP 1
    1. Long Live A$AP
    2. Goldie
    3. PMW (All I Really Need) - feat. Schoolboy Q
    4. LVL
    5. Hell - feat. Santigold
    6. Pain - feat. OverDoz
    7. F**kin' Problems - feat. Drake, 2 Chainz & Kendrick Lamar
    8. Wild For The Night - feat. Skrillex & Birdy Nam Nam


    LP 2
    1. 1Train - feat. Kendrick Lamar, Joey Bada$$, Yelawolf, Danny Brown, Action Bronson & Big K.R.I.T.
    2. Fashion Killa
    3. Phoenix
    4. Suddenly
    5. Jodye
    6. Ghetto Symphony - feat. Gunplay & A$AP Ferg
    7. Angels
    8. I Come Apart - feat. Florence Welch

    A$AP Rocky
    $29.99
    Colored Vinyl LP - 2 LP Sealed Buy Now
  • Deconstructed Deconstructed Quick View

    $39.99
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    Deconstructed

    Red Vinyl


    Etched D-Side


    Deconstructed is a remix album by British post-grunge band Bush, released in 1997, as a collaborative effort between the band and various producers like Tricky, Goldie, Mekon and others working in the electronic genre of music to remix some of the band's previously released songs. Mouth (The Stingray Mix) was released as a single in 1997 and became a minor hit, due largely in part to it being featured prominently in both the trailer and the 1997 film An American Werewolf In Paris.


    While not a studio album, Deconstructed often stands among the band's studio catalog and has been frequently cited regarding Bush's transformation from simple post-grunge to more experimental Rock. It was followed two years later by their third studio album, The Science of Things, which continued this incorporation of electronic elements into hard rock.


    The Music On Vinyl reissue features a beautifully etched D-side!

    LP1
    Side A
    1. Everything Zen (The Lhasa Fever Mix)
    2. Mouth (The Stingray Mix)
    3. Swallowed (Goldie/toasted Both Sides Please Mix)
    4. Synapse (Philip Steir/My Ghost In The Bush Of Life Mix)
    Side B
    1. History (Dub Pistols Mix)
    2. Personal Holloway (Fabio Paras/Soundclash Republic Mix)
    3. Bonedriven (Mekon/beat Me Clever Mix)
    4. Insect Kin (Jack Dangers/Drum And Bees Mix)


    LP2
    Side C
    1. Comedown (Lunatic Calm Mix)
    2. Everything Zen (Derek Delarge Mix)
    3. In A Lonely Place (Tricky Mix)
    Side D
    Etch

    Bush
    $39.99
    180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
  • Why? Why? Quick View

    $18.99
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    Why?

    At last! TMBG is returning to the world of kids stuff! You might have heard some of the tracks previewed on Dial-A-Song, but we can now confirm the arrival of a fantastic set of 18 new songs called Why? What kind of album is Why? Well, it's not bad for you but it's not good for you either. It's just about fun, like TMBG's first kids album No! Why? is memorable songs in family-friendly package with none of that pandering aftertaste.


    Like previous TMBG kid productions it's a family affair with John Flansburgh's wife Robin "Goldie" Goldwasser singing a couple of tracks, while bassist Danny Weinkauf, joined by his daughter, steps up to the mic for the song Elephants. Alison Cowles, the daughter longtime video animation collaborator David Cowles (The Mesopotamians, We Live in a Dump, Science is Real) has contributed all the illustrations for the album. Right out of the gate TMBG hits the listener with the odd brilliance of "Oh You Did" through the folkie charm of "Out of A Tree," the full rocking of "Or So I Have Read" the perky "I Just Want to Dance," and wrapping things up with the optimism of "Then The Kids Took Over." Why? has everything to delight both kids and parents.

    1. Oh You Did (feat. Robin Goldwasser)
    2. Omnicorn
    3. I Am Invisible
    4. Definition of Good
    5. And Mom and Kid
    6. I Made a Mess
    7. Moles, Hounds, Bears, Bees and Hares
    8. Walking My Cat Named Dog
    9. Or so I Have Read
    10. Elephants (feat. Danny Weinkauf)
    11. Long White Beard (feat. Robin Goldwasser)
    12. I Just Want to Dance
    13. Thinking Machine
    14. So Crazy for Books
    15. I Haven't Seen You in Forever
    16. Out of a Tree
    17. Hello Mrs. Wheelyke
    18. Then the Kids Took Over
    They Might Be Giants
    $18.99
    Vinyl LP - Sealed Buy Now
  • Love Me Love Me Quick View

    $19.99
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    Love Me

    Tomas Barfod released his debut solo album back in 2012, a sophisticated mesh of electronics
    called Salton Sea. Lauded by the likes of Pitchfork, Dazed & Confused and Gorilla vs Bear, the
    acclaim took Barfod slightly by surprise but its success has paved the way for the follow-up, Love
    Me, an album that takes Barfod's spirit of adventurousness and raises the stakes. Utilising a
    supporting cast that includes a string and brass section, and musicians like Here We Go Magic's
    Luke Temple and long-term collaborator Nina K. on vocal duties, it's a multi-layered album that
    effortlessly pushes and pulls dance and electronic music into a myriad different shapes.


    Barfod was first exposed to the indefinable lure of the electronic music scene not by clubbing (that
    came later), or by specific acts, but by a long-forgotten film featuring a section set in a club. "I
    think it was after I watched a bad movie about raves in the 1980s" he laughs. Early musical
    influences ranged from the likes of Goldie, Massive Attack and Portishead, to Goa trance and
    techno, before drifting into house and disco. These influences subsequently manifested
    themselves in the acid disco-inspired club-bangers Tomas released as Tomboy via Gomma records
    and the ambient techno he unleashed on Kompakt.


    He had about ten years of musical experience before he started making his own music, part of
    which came in the shape of his band, WhoMadeWho, who he formed in 2004 alongside two
    fellow Danes, guitarist Jeppe Kjellberg and singer and bassist Tomas Høffding (Barfod plays
    drums and produces).


    These new songs are precise, more defined and ultimately crafted into more fully-formed songs.
    While still keeping his debut's intimate delicacy and beautiful sense of fragility, this follow-up is
    also more audacious, as showcased on the sweeping strings of the lovely "Aftermath". This
    coalescing of the real and the analog is also highlighted by the guest vocalists, who range from
    long-term collaborator Nina Kinert on the lovely electro-squelch of "Pulsing" and the bouncing
    electro-pop of "Busy Baby", and American singer-songwriter Luke Temple on the poignant "Bell
    House". From the start Barfod was acutely aware that in order for these songs to come to life they
    needed to have vocals, even if piecing it all together was like finishing a puzzle. Love Me is many-textured, endlessly rewarding, an organic-sounding electronic album utilizing real heart and soul.

    1. Bell House (feat. Luke Temple)
    2. Pulsing (feat. Nina K.)
    3. Destiny's Child
    4. Busy Baby (feat. Nina K.)
    5. Honey (feat. Sleep Party People)
    6. Aftermath (feat. Nina K.)
    7. Blue Matter (feat. Jeppe Kjellberg)
    8. Waiting For Us (feat. Nina K.)
    9. Mandalay
    10. Sell You (feat. Night Beds)
    11. Lost (feat. Pell)
    Tomas Barfod
    $19.99
    Vinyl LP - 2 LPs Sealed Buy Now
  • Pattern of Excel Pattern of Excel Quick View

    $24.99
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    Pattern of Excel

    What moves faster than the internet? OK, maybe light. But besides that, it's hard to find something more fleeting, rapidly changing and dynamic as the voice of the online community, which ultimately shapes the contemporary creative landscape both on and off the screen. As it happens, sometimes the artists who are most celebrated by the collective interweb are the same ones who later are in the throes of its fickleness. In the case of Lee Bannon, he's managed to slip into the elite of so many disparate (yet all discerning) scenes that even the speediest of hype surfers can't seem to keep up with his sonic shapeshifting. After an initial rise in the world of hip-hop (self-releasing beat tapes, collaborating with rap royalty like Souls of Mischief and Hieroglyphics and producing and DJing for Joey Bada$$ and the Pro Era crew), Lee Bannon turned his attention to a more ambitious, unconventional and decidedly anti-fad cause: taking influence from Goldie, Aphex Twin and the legacy of drum & bass and jungle to craft his debut LP Alternate/Endings. The album, released in January 2014 on Ninja Tune, was percussively dense, somehow both raw and razor-sharp, and featured enough peaks and plummets to blow the snapback right off the expectant hip-hop head's skull. Despite (or perhaps because of) the bold shift from previous work, the album was released to critical acclaim with words of praise coming from Rolling Stone, Resident Advisor, FACT, Pitchfork, The Guardian and more. Never one to stagnate, Lee Bannon has spent the subsequent months further honing his skills as a hotly-tipped collaborator (working more with Joey Bada$$, Wiki and producing Mick Jenkins' newest single, as well as more credits to come later this year), touring extensively (including a run with Trash Talk and Ratking in North America) and turning his attention once more to the studio for solo work. His sophomore LP on Ninja Tune, Pattern of Excel, again signals a movement away from the ground he's already covered and toward his own vision of the leftfield future. Gone are the rapidfire breaks and growling b-lines of his debut, replaced instead by a considered exploration of ambient soundscapes and drone influences. Though less immediately demanding of the listener's attention, Pattern of Excel shines in its quietude: the bokeh which filters through Artificial Stasis, the distant but steady build of Memory 6, the strings sadly quavering into a melody on Disneµ Girls. Rather than a departure, Pattern of Excel can only be considered a continuation of Lee Bannon's proven flexibility and commitment to innovation and progression.
    1. Good / Swimmer
    2. Artificial Stasis
    3. dx2
    4. Suffer Gene
    5. refoah
    6. Shallowness is the root of all evil
    7. Paofex
    8. kanu
    9. Aga
    10. inflatable
    11. AW in the Sky for Pigs
    12. Disneµ Girls
    13. SDM
    14. Memory 6
    15. Towels
    Lee Bannon
    $24.99
    Vinyl LP - Sealed Buy Now
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