We Stay Together - EP by Andy Stott on Apple Music

6 Songs

EDITORS’ NOTES

When My Bloody Valentine’s Glider EP dropped in 1990, some people, upon hearing Kevin Shields’ floating tremolo guitar for the first time, believed their vinyl copies were warped. Andy Stott’s innovative approach to techno—sounding intentionally blown out and muddy—might be ingested similarly. There are sure to be some folks checking their speaker cones for rips and tears. The We Stay Together EP picks right up where his preceding Passed Me By left off, with dark and nebulous post-apocalyptic electronic music that would perfectly accompany a movie about rave zombies. “Submission” opens with nearly five minutes of shadowy ambience, as Stott loops samples of choral snippets set against what sounds like the feral flutter of feathers from the avian stars of Alfred Hitchcock’s The Birds. “Posers” follows, with distant locomotive rhythms forging a drowsy groove under muted horns and murky synthesizers. If electronic music could somehow be created and played underwater, it would come off sounding like “Bad Wires”: seven minutes and 21 seconds of submerged beats and obscured noises grasping for their sonic lives.

EDITORS’ NOTES

When My Bloody Valentine’s Glider EP dropped in 1990, some people, upon hearing Kevin Shields’ floating tremolo guitar for the first time, believed their vinyl copies were warped. Andy Stott’s innovative approach to techno—sounding intentionally blown out and muddy—might be ingested similarly. There are sure to be some folks checking their speaker cones for rips and tears. The We Stay Together EP picks right up where his preceding Passed Me By left off, with dark and nebulous post-apocalyptic electronic music that would perfectly accompany a movie about rave zombies. “Submission” opens with nearly five minutes of shadowy ambience, as Stott loops samples of choral snippets set against what sounds like the feral flutter of feathers from the avian stars of Alfred Hitchcock’s The Birds. “Posers” follows, with distant locomotive rhythms forging a drowsy groove under muted horns and murky synthesizers. If electronic music could somehow be created and played underwater, it would come off sounding like “Bad Wires”: seven minutes and 21 seconds of submerged beats and obscured noises grasping for their sonic lives.

TITLE TIME
4:50
5:07
7:21
6:36
7:32
5:36

About Andy Stott

During the latter part of the 2000s, Manchester-based DJ/producer Andy Stott evolved from making high-quality dub techno to releasing a singular and more adventurous strain with an approach that favored leaden tempos and unsettling, sample-based textures. Beginning in 2005, Stott recorded exclusively for his hometown's Modern Love label, where he quickly became a key member of the roster alongside fellow travelers Claro Intelecto and Demdike Stare. He released numerous singles and EPs, along with a taut 2006 album (Merciless) and a 2008 compilation (Unknown Exception). The producer made a significant creative advance in 2011 with a pair of creep-outs, Passed Me By and We Stay Together, that were combined and expanded for CD release by the end of the year. In 2012, he released his third proper album, Luxury Problems, which incorporated vocals from Alison Skidmore, his former piano teacher. Skidmore was present once more on Faith in Strangers, a 2014 album that featured some of Stott's least and most abrasive material. For 2016's Too Many Voices, which tempered abrasive drums with glassy keyboard melodies, Stott cited grime mixtapes and David Sylvian and Ryuichi Sakamoto's 1982 avant-pop 12" collaboration as inspirations. Additionally, Stott has produced some exceptional breakbeat-oriented dubstep and drum'n'bass as Andrea; beside Demdike Stare's Miles Whittaker, he has recorded as Millie & Andrea. Those two, along with Gary Howell, also produced drum'n'bass as Hate. As a remix producer Stott's most noteworthy commissions include Vladislav Delay's "Recovery Idea," Blondes' "Pleasure," Tricky's "Valentine," and Martin Gore's "Europa Hymn." ~ Andy Kellman

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