New randomNumber album "Modern Ambivalence" is now available on Moamoo Records
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Random Number: 'Modern Abivalence' (Moamoo) After numerous releases on Mogwai's Rock Action, Rocket Racer, Catmobile and Highpoint Lowlife. Matt Robson makes his debut on this popular Japanese imprint. What to expect: Highly melodic electronica with a heavy slant towards highly engineered beats and percussion. The addition of cut up vocals and unmasked guitars adds to the well developed sound Matt has been touting since his split from drumming duties with a certain northern band (Hood). In places this collection pays homage to those expert beat manglers and melody pioneers AE. His use of the latest plug ins and software would probably indicate, mainly to fellow practitioners, how far he's attempted to push the level of intricacy machine made music obviously demands. If you enjoy your beats, crushed, bumped, scrawled, smeared and battered, your melodies cute, syrupy and sometimes melancholy, then you'll no doubt take to Matt's brand of urban electronica.
(Courtesy of Norman Records)
Modern Ambivalence is the fourth album by Leeds’ long standing proponent of electronic music, randomNumber. “Modern Ambivalence” is the latest incarnation of an evolving style which has taken shape over the past eight or so years, flowering from early noise experiments that gave way to a tentative and primitivist electronica that was released on the now defunct, yet legendary CDR label, Fencing Flatworm. Since these early digital musings Robson’s music has charted a course of increasing melody and of rhythmical complication with releases for California’s Rocket Racer (2002’s “I Understand Your Date & Time of Nowhere”) and Mogwai’s Rock Action (2001’s NME Dance single of the Week “The Fact That I Did” EP).
“Towards The Forlorn Society” (2003), for Catmobile Records took the trademark sound to it’s limit with it’s brittle and unsettling mix of rhythmic obfuscation and winter smeared synth impressionism that tested the boundaries of home brewed electronic music. During this period, other more accessible EP’s and mixes appeared for labels as diverse as Vacuous Pop and Irritant (who gave homes to early releases by Kid606, Knifehandchop and Printed Circuit). Shows with the likes of I Am Robot & Proud, Printed Circuit, Kid 606 and Cex would see the randomNumber live performance taken across the waters to France, USA, Mexico and Canada throughout the whole 2002 to 2004 period and would represent Robson’s most prolific period of international touring as a solo artist.
The tensions of these awkward, yet compelling mid-period pieces soon gave way to a more confident and relaxed sound that was no less compromising in it’s desire to chart the dark and melancholic landscape of contemporary electronica, but presented a more coherent and accessible sound that appealed to a wider audience. “Golden Acre Sleeps” (Highpoint Lowlife, 2006) ushers in the dawn of a Post-Electronica era of scene fragmentation and ghettoisation with bedroom producers increasingly marginalised into obscurity or MP3 mediocrity, against this backdrop, “Golden Acre” comes across as a breath of fresh air from the very grassroots of the scene.
Throughout this recent period, the randomNumber sound continues to develop, as “Golden Acre” was being released to a world increasingly enthralled by the new breed of over confident pretty boys with guitars, giddy on corporate expense accounts, Robson continues to be a credible live performer at both rock and electronic shows, playing with the likes of Thee More Shallows, Pram, Clark, A Silver Mount Zion, Christ and Bracken to name a few, showcasing material from the “Modern Ambivalence” sessions.
02. Sion Everywhere?
03. Puddles Filled With Pine Needles
04. Line Copse Long?
05. Silver Shadow Follows You?
06. Modern Ambivalence?
07. Double Slow Thinking?0
8. Black Hills?
09. Patternewton Haiku Society?
10. From Carried To Keen