In RecordLabelRecords first collaboration with Highpoint Lowlife Records and second collaboration with Chris Douglas aka Dalglish aka OST we present to you the CD version of Benacah Drann Deachd. Click here to see a full page feature in June 2011 issue of The Wire magazine. A selection from Benacah Drann Deachd was featured on the Wiretapper, a free compilation that is included with the Wire.
download/stream of ‘3.9.2004’ in 320kbps quality (the rest of the streaming previews below are 64kbps)
“It is a tremendously complex album that many will abandon after the first try (the start, with “25.6.2010”, cosmic and sweet, doesn’t sound like it – but the electro-acoustic interpretation of Mark Fell’s idiom on “8.4.2006” does, whilst the volcanic ambient of “5.8.2001” spits out glitches as if they were burning stones). However, if you keep trying, it grows on you. In a braver world, or maybe on Mars, this would be an instant classic. Here, on the third rock from the sun, we settle for “experimental record of the year”
– Javier Blánquez of Playgroundmag
“listeners are left to piece the picture together, with only Douglas’s sonic collages as guide. As things stands, these are quite powerful triggers, from claustrophobic environments (3.9.2004, 30.12.2007, 7.3.2008) and fragmented textures (5.8.2001, 7.3.2009) to more austere (13.6.2003, 10.7.2005, 7.3.2009) and almost peaceful sequences (25.6.2010, 8.4.2006, 6.8.2002). Despite the intensely mechanical aspect of the music, their is something very organic about these tracks. In that, Benacah… is often reminiscent of Autechre, especially in how Douglas manages to generated strong emotions from such deeply electronic approach, a feat made even more striking by the overall sombre aspect of the record.”
– The Milk Factory
“Anyone who has fond memories of IDM’s heyday will get something out of this oil-spraying, machine-massaging look at what the appliances in your house do after dark. Beats get broken up into binary code, synths hits your speakers like sheets of static, and unexplained flying samples maintain a suffocating sense of dread. If someone ever figures out how to translate Philip K. Dick’s fiery prose for the screen again, this’d make a suitable soundtrack”
“This sombre, endlessly fascinating album is already set to become one of the year’s cult favourites, having already earned a glowing full-page review from The Wire to sit alongside nuff props from the deep end of the electronic underground. We’ve been struggling to categorise it, which is praise in itself, but it’s safe to say that it will appeal to fans of deepest avant-techno and hauntology alike, and of course those like us who’ve been dreaming of a fusion of the two. It evokes nothing so pungently as a stroll down a desolate beach with nothing but the black dog of depression for company, but at the same time there’s such beauty and complexity to behold that it is, in the end, a totally life-affirming experience.. e. Dalgish puts percussion sounds to textural rather than a time-keeping use; just as you think you’ve identified a beat pattern it dismantles itself before your very ears and is subsumed back into the foggy, forbidding ambience from whence it came. It really is a mind-blowing trip, suggesting MR James’ Whistle And I’ll Come To You if soundtracked by T++, SND, Pole and Rhythm & Sound. Albums like this really don’t come around very often, the kind that really mess with your sense of time, space and being. Honestly, this is one of the most intellectually engaging AND emotionally resonant works of electronic auterism we’ve encountered in recent times, and it comes with our highest recommendation.”