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12"
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TRILOGY 058EP
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2021 repress. "From his 'Rivertrance' remix for Model 500 on R&S to 2015's middle-eastern jig 'Stuck In The Muddle', Bullion has shown a consistent interest in combining ancient Celtic polyrhythms with modern production. His recent cassette for The Trilogy Tapes, All Abawd, which garnered praise from Ben UFO, contained more nods to Gaelic culture alongside a unique blend of broader world influences. His latest 12 expands on 3 tracks from the TTT mixtape, applying a focused and groove-based approach. A-side 'Blue Pedro' presents a joyful reel set to staccato synth rounds and a progressive backbeat. 'Muy Quimeda' adopts a sweeter, but nonetheless driving tone; forlorn female vocals and lush harmonies swooning over an arpeggiating foot-to-the-floor swing. 'Spin2Glory' shows a darker and heavier intention, with punchy kicks and claps bolstering FM bass hooks. A sea shanty gone overboard."
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12"
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DEEK 001EP
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Absolute must-have mini-album of songs from Bullion. Next to four of his own excellent compositions (with his own singing) is a delicious cover of Robert Wyatt's "Age Of Self." Super tasty artwork by The 2 Group and Aaron Larney, printed on 300gsm shrink-wrapped sleeves.
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CD
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YT 046CD
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"This is Bullion's first release for Young Turks. At nine songs, 21 minutes total, You Drive Me To Plastic is neither an EP nor an album, nor a beat-tape, nor a mixtape, and yet manages to touch on all of these notions at once. If these are supposed to be "beats," they are devoid of the played-out signifiers -- no looped breaks, no wobbly basslines, no squiggly 8-bit chirps -- but the language of composition is entirely rooted in the hip-hop tradition. What is remarkable about this record is the ease with which Bullion draws disparate elements together, fusing them into a harmonious ensemble. Exotic percussion, jangling guitar lines and library grooves are married with hard-edged '80s retro-funk, plodding nu-wave synthesizers and Krautrock drones, and though these all make for unlikely bedfellows, here they tessellate perfectly as if made to match. The detailed intricacy and speed at which this record unfolds can feel jarring at first but rewards with repeat listens. Bullion rejects any kind of rhythmic convention, opting for awkward, faster tempos, odd time signatures, Afro-beat patterns, and beatless, dreamy interludes. It is the faintly glowing ghosts of yesteryear that unite all the songs on this record. The voices whisper, chant and float through the music, part acid-flashback, part new age hymn, their words twisted beyond all comprehension, yet clearly communicating a heady, intoxicating dreaminess. As the deep, dubby swirls of 'Lol Express' fade into the angular ooohs and ahhhs of 'Too Right,' followed by the Gregorian chants of 'Spirit Mighty,' it seems like this producer is having far too much fun pushing the boundaries of what he does to reign himself in. Perhaps a recent tour in Africa has paid dividends on informing the Bill Laswell meets hi-life atmosphere throughout. There is definitely a global outlook, or 'world music' feel to this work. The Italo funk of 'Pressure To Dance,' the most instantly accessible track, will find as much favor in the record boxes of Mancuso disciples and bearded Balearic warriors as it will on the dancefloors of Dalston's numerous basement clubs. Equally, the blunted hip-hop head-nod crew will most definitely find something to pack their bowl to here. Overall, this is a mature and sophisticated record that will delight crate diggers of all ages, especially those searching for something with one foot in the past and one foot in the sound of tomorrow. A work of beguiling beauty, and an endearingly quirky listen, You Drive Me To Plastic is arguably his finest and most original work to date. If he can find it in himself to deliver a full length of this quality, then the future is golden." --Mr. Beatnick
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LP
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YT 046LP
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Special edition LP version with vinyl-etching on one side. "This is Bullion's first release for Young Turks. At nine songs, 21 minutes total, You Drive Me To Plastic is neither an EP nor an album, nor a beat-tape, nor a mixtape, and yet manages to touch on all of these notions at once. If these are supposed to be "beats," they are devoid of the played-out signifiers -- no looped breaks, no wobbly basslines, no squiggly 8-bit chirps -- but the language of composition is entirely rooted in the hip-hop tradition. What is remarkable about this record is the ease with which Bullion draws disparate elements together, fusing them into a harmonious ensemble. Exotic percussion, jangling guitar lines and library grooves are married with hard-edged '80s retro-funk, plodding nu-wave synthesizers and Krautrock drones, and though these all make for unlikely bedfellows, here they tessellate perfectly as if made to match. The detailed intricacy and speed at which this record unfolds can feel jarring at first but rewards with repeat listens. Bullion rejects any kind of rhythmic convention, opting for awkward, faster tempos, odd time signatures, Afro-beat patterns, and beatless, dreamy interludes. It is the faintly glowing ghosts of yesteryear that unite all the songs on this record. The voices whisper, chant and float through the music, part acid-flashback, part new age hymn, their words twisted beyond all comprehension, yet clearly communicating a heady, intoxicating dreaminess. As the deep, dubby swirls of 'Lol Express' fade into the angular ooohs and ahhhs of 'Too Right,' followed by the Gregorian chants of 'Spirit Mighty,' it seems like this producer is having far too much fun pushing the boundaries of what he does to reign himself in. Perhaps a recent tour in Africa has paid dividends on informing the Bill Laswell meets hi-life atmosphere throughout. There is definitely a global outlook, or 'world music' feel to this work. The Italo funk of 'Pressure To Dance,' the most instantly accessible track, will find as much favor in the record boxes of Mancuso disciples and bearded Balearic warriors as it will on the dancefloors of Dalston's numerous basement clubs. Equally, the blunted hip-hop head-nod crew will most definitely find something to pack their bowl to here. Overall, this is a mature and sophisticated record that will delight crate diggers of all ages, especially those searching for something with one foot in the past and one foot in the sound of tomorrow. A work of beguiling beauty, and an endearingly quirky listen, You Drive Me To Plastic is arguably his finest and most original work to date. If he can find it in himself to deliver a full length of this quality, then the future is golden." --Mr. Beatnick
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