SHEATHED

My copy of LFO's new album "Sheath" arrived through my letterbox this morning, a whole three days before the official release date, proving that it sometimes pays to pre-order! This is the limited edition CD version in a clear case with clear 'sheath' slip-case and a few stencils (t-shirt and spray paint not included!). Unfortunately I'm suffering with a headcold so had to take a couple of pain killers before cranking it up. Good job I did, 'cause this would have definitely given me the mother of all headaches otherwise. Tracks like 'Mum-man' generate the sort of abrasive rhythmic intensity not heard since Aphex Twin's "73 Yips". Actually I'd say that in general this album evokes the spirit of cutting-edge Techno circa '92-'93; that time when things were getting a bit more texturally interesting but before it got too regimented and/or coffee-table muzak. The opening track "Blown" is drenched in reverb and ghostly, indistinct synth-wash, conjuring a sense of dark, alien environments that Aphex was so good at producing back in those days. Indeed, rather than an update of "Frequencies", it seems to my ears that Mark is exploring the possibilities suggested by Aphex's early '90s material, before he discovered drill'n'bass and all that. The lineage from "Surfing On Sine Waves", "Analogue Bubblebath 3" etc is what I'm getting at. Given the fleeting, catch-it-before-it's-gone nature of technology-driven music, I think it's totally valid for Mark to revisit this period. There's plenty of others out there going back to old skool rave and hardcore for inspiration because, clearly, there is more to say. Likewise, Mark's fascination with pure electronic sounds, bass distortion, ethereal, reverb-swamped sustained melodies and farty analogue synth emissions proves that minimal techno-puritanism need not be abandoned as some passing fad. "Sleepy Chicken", with it's clammy, hissing percussion, almost jazzy bassline, sweeping vistas of synthetic strings and queer martian burbling noises sounds like Martin Denny's exotic moods retooled to soundtrack some unimaginable interstellar scenario. But at the same time, there's a direct, unfussy temperament behind all this. Most tracks stay under the 5 minute mark, and the whole album is a concise 45 minutes. It's one of those albums I'd happily play to anyone and not give a damn what they think of it, 'cause I know it's unquestionably great. I believe in 'Sheath'. Bow down and worship, muthafukkaz....