Gagarin is one of the noms de plume of Graham Dowdall, who has been recording for the last thirty years with such luminaries as Ludus, Rothko, Pere Ubu and Nico among others. Gagarin itself started back in 1995, and in that time he has released seven albums all through his own Geo label. Last year’s Corvid was very well received and on the strength of that, he has passed some of the tracks onto fellow travellers to compile a remix mini album.
There is a healthy diversity in the remixers taking part and that makes for varied journey through the source material. It opens with Graham’s old mucker from the Bedlamites, Eric Random, who gives “Autonomist” an old Mute makeover; echoing spaced-out drums with electronic sounds giving a sinister edge to the track. There is enough of a dancefloor feel to encourage even the rustiest of hips to move, but it is more in the dark, industrial vein that settles into a train-like rhythm, satisfyingly insistent.
The tracks tend to wander into one another, and the absence of beats and some disembodied vocals plastered over a prehistoric soup of noise marks the arrival of Robert Logan‘s “Winterfold”. A doomy atmosphere, a mystery place, things colliding over a backdrop of ethereal keyboard textures, it is otherworldly and awkward, but segues beautifully into the soothing and incredibly sparse. On “Alienist” by Justin Paton from Now, the sound of planes and unsettling scorch marks lingering over select techno-tinged beats that drift and in and out of phase, as if our hearing is not quite up to dealing with what is leaking from the speakers. Side two opens with side one closing. The moody distant gulls and pervading darkness, the slow-moving sparseness and subtle bass notes resonating over a gentle hum. It is Rothko, “In Space”, also taking on “Autonomist”, but lending it a far more desolate and contemplative air which sits at odds with USNRM‘s “Oromorphian”, which is all glitchy, purring beats over a lovely circling keyboard motif. There is a slightly delirious feel, techno half memories interacting with scratches and scrapes drifting in and out of focus. Finally, what sounds like someone unwrapping and scoffing sweets heralds the arrival of Isnaj Dui‘s “Gibbet”. I know that’s not what it is, but it sounds like it. It says its the “Pinecones Mix”, so maybe pine cones are involved. Anyway, this odd scratchy rhythm accompanies hesitant piano and cave-like droplets to produce a strangely idyllic feel, which with the addition of pastoral flute sends me on a bit of a reverie and gently ushers out this eclectic offering.It is great to see new ideas offered up to these tracks, and this is essential, really, for anyone who already has the album, as well as those who are up for a bit of sonic adventure and a little mischief.
-Mr Olivetti-
