In 2002, Atom and Burnt Friedman, together known at Flanger, received unanimously positive reviews for their Ninja Tune release, Inner Space/Outer Space. At the time, their sound was hailed as a cohesive fusion of various jazzy and electronic sounds, in addition to featuring both live and programmed instrumentation. In short, Flanger really excited and captured the attention of listeners and critics alike. In retrospect, their compositions seem constrained by unnecessary self-imposed parameters, particularly when contrasted with their first new LP in ten years, Lollopy Dripper.
This album is rich with depth and confidence, drawing from jazz, dub, glitch, various electronic genres and even new age. However, this time out, the influences do not come across as self-conscious or limited. Rather, the approach to this album seems more akin to that of the painter who has learned to appreciate having countless colours on his palette. Despite being relatively understated, the album never ceases to surprise, featuring compositions that take multiple unexpected turns and shifts in both mood and style. Opener "Onset," for example, begins with a complex, fast-paced, finicky mutated guitar part and percussion, then at the 1:30 mark begins a sparse, moody, downbeat jazzy interlude that ultimately marries the themes of the opening and the interlude masterfully.
The tones, styles and textures are ever shifting on Lollopy Dripper, a release that promises to reward, if not demand, repeated spins. The last ten years, it must be said, were worth the wait.
(Nonplace)This album is rich with depth and confidence, drawing from jazz, dub, glitch, various electronic genres and even new age. However, this time out, the influences do not come across as self-conscious or limited. Rather, the approach to this album seems more akin to that of the painter who has learned to appreciate having countless colours on his palette. Despite being relatively understated, the album never ceases to surprise, featuring compositions that take multiple unexpected turns and shifts in both mood and style. Opener "Onset," for example, begins with a complex, fast-paced, finicky mutated guitar part and percussion, then at the 1:30 mark begins a sparse, moody, downbeat jazzy interlude that ultimately marries the themes of the opening and the interlude masterfully.
The tones, styles and textures are ever shifting on Lollopy Dripper, a release that promises to reward, if not demand, repeated spins. The last ten years, it must be said, were worth the wait.
