Bones In Motion

Chronique

Shortly after indie cassette label Leaving Records teamed up with the especially clever Stones Throw for 2013's Dual Form, they joined up again to release the sophomore album by one of the most interesting artists who appeared on the compilation. All of the songs on Bones in Motion share in the ramshackle aesthetic of "Visions," as lo-fi experimental house beats made with cheap vintage equipment and recorded onto a four-track cassette. Constructed with merely a Roland TR-505 drum machine, an Akai S20 sampler, two keyboards, an amp head, a guitar (for "Reels"), and a $30 microphone, the aesthetic of the Northern Irish producer is undeniably messy, but utterly unique. These 15 thumping, overdriven dance songs are tranced-out, horribly unprofessional-sounding and all the more awesome for it. The recording is blown out to the point that noise plays as big of a part in shaping the Cyclist's sound as Krautrock and early Detroit techno tapes. Listening to Bones in Motion is like going down the rabbit hole into the Cyclist's private little world. As far as technique goes, he's not doing anything breathtaking, but where he succeeds is having a vision, and following through on it to create a vibe that is completely his own. As the album progresses, it becomes less driven by kick drum and more washed out in psychedelics. The beat in "Mongel" is perpetually on the verge of falling off the rails, "Reels" turns into cosmic slop that will be viewed as beautiful by anyone who enjoys Metal Machine Music's distorted drones, and the last song, "Sleeping," is a simple lullaby of twinkling synths. This is not an album for most, but those who get it will truly enjoy the ride.
© Jason Lymangrover /TiVo