Heady, raw and visceral, PATTEN’s debut release — pronounced “glack-geut zack-so”* — is a maverick work of genius straight out of the London leftfield.
A few touchstones : the dancefloor experimentation & emotional resonance of Arthur Russell ; the splintering emotive noise of My Bloody Valentine ; Autechre’s ghost in the machine warm abstraction ; Broadcast’s elegant futurity ; the yearning tower block symphony of Goldie’s ‘Inner City Life’; anything Martin Hannett ; the paranoid, dense soundspace of Tricky’s ‘Maxinquaye’; J Dilla’s clipped loops and saturated samples ; Drexciya’s aquatic liquified sonics ; London’s fragmented post-millenial dance music continuum, Steve Reich’s ‘Music For 18 Musicians’, too many to mention, the list should go on… all of these, but none of these. With an exhilarating new style that is raising the bar for sound collage artists to an unheard-of altitude, YOUNG MONTANA ? chops beats into being on a hypercolour canvas that is saturated with soul and lit with innovation.
Backed early, by Mary Anne Hobbs and BTS Radio’s Andrew Meza, YM ? was hand-plucked from the relative obscurity of Coventry, UK, into the insiders-spotlight on both sides of the atlantic, causing a stir in the online underground with a slew of leaked tracks and remixes. It didn’t take long to step up to the plate, delivering his debut album Limerence via the seminal Alpha Pup label to critical acclaim. A wild ride of an album, Limerence showcases the newly minted producers kaleidoscopic sound. Fusing his love for golden-era Hip-Hop’s bounce — a la Native Tongues Posse — with the Electronic scene’s ferocity and rawness, YM?‘s productions are swung out through a warm haze of nostalgia, equaled with forward-thinking finesse.
A few touchstones : the dancefloor experimentation & emotional resonance of Arthur Russell ; the splintering emotive noise of My Bloody Valentine ; Autechre’s ghost in the machine warm abstraction ; Broadcast’s elegant futurity ; the yearning tower block symphony of Goldie’s ‘Inner City Life’; anything Martin Hannett ; the paranoid, dense soundspace of Tricky’s ‘Maxinquaye’; J Dilla’s clipped loops and saturated samples ; Drexciya’s aquatic liquified sonics ; London’s fragmented post-millenial dance music continuum, Steve Reich’s ‘Music For 18 Musicians’, too many to mention, the list should go on… all of these, but none of these. With an exhilarating new style that is raising the bar for sound collage artists to an unheard-of altitude, YOUNG MONTANA ? chops beats into being on a hypercolour canvas that is saturated with soul and lit with innovation.
Backed early, by Mary Anne Hobbs and BTS Radio’s Andrew Meza, YM ? was hand-plucked from the relative obscurity of Coventry, UK, into the insiders-spotlight on both sides of the atlantic, causing a stir in the online underground with a slew of leaked tracks and remixes. It didn’t take long to step up to the plate, delivering his debut album Limerence via the seminal Alpha Pup label to critical acclaim. A wild ride of an album, Limerence showcases the newly minted producers kaleidoscopic sound. Fusing his love for golden-era Hip-Hop’s bounce — a la Native Tongues Posse — with the Electronic scene’s ferocity and rawness, YM?‘s productions are swung out through a warm haze of nostalgia, equaled with forward-thinking finesse.