He hasn’t lost his power juggling desiccated femme burbles, although the trick feels more recognisable than out-and-out stunning due to the passage of time.

(8)ĭaniel Montesinos-Donaghy: It feels like a decade has passed in rap years since Clams Casino bubbled up alongside Lil B and the immortal ‘I’m God’, helping internet-savvy hip-hop sound that little more ethereal and glassily gorgeous. Incidentally, is anyone missing Lil B or A$AP Rocky on this? Didn’t think so. Clammy Clams has been rap’s secret weapon going on half a decade and the swag-vampires that rinsed his sound over the past few years have done little to diminish the potency of his instrumentals. I’m into the kick rhythms and it’s a texturally gorgeous track – a really lovely procession of phases spanning the outer atmospheres. Tayyab Amin: Listening to this tune is like flicking between TV channels of people’s dreams.

Somehow both stately and the opposite of boring. Son Raw: Why can’t all techno sound like this? Subsuming jungle’s speed rush to a muted thump should be awful but Lee Gamble knows that the two genres’ workable intersection is their alien strangeness. If that was the concern of Gamble’s clattering, that would still only give me a wry smile and nothing more as it stands, this is just bad music. ‘For Infernomatics’ is no different for reminding me of the early days of leaks on peer-to-peer sharing networks, where a brand new song would pop up and be rabidly downloaded thousands of times, only for everyone to realise it was a fade-in/fade-out loop of the real song’s first 20 seconds. (3)ĭaniel Montesinos-Donaghy: A lot of the time for Singles Club I write about nostalgia and futurism, because I guess those are my concerns when I listen to and think about music. Haley Potiker: I guess this is preferable to listening to a dial tone or the fax machine busy signal but like, not by a lot.

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