'The Number From Which All Things Come'
Vinyl and Digital
Sullen Tone records
Previously on LTO:
o "Detached, forlorn beauty that has a distinctly Autechre sheen – scrambling emotion set inside malfunctioning computer music. It emotionally wrings the listener more than most." Resident Advisor
o "Immersive production which makes use of a wide-ranging sonic palette. Blending various field recordings with bursts of static, industrial percussion hits, layers of strings, and an innumerable collection of other minute sonic elements, it is pleasantly difficult to pinpoint where the acoustic and processed worlds meet in LTO's production." XLR8R
o "LTO is making some wonderfully mysterious music. With a sound that mixes organic and mechanic sounds together, and melds all sorts of genres as diverse as dubstep, post-rock and modern classical, he's got a style that no-one else comes close to repeating." Ransom Note
o "LTO fulfils much of what we've come to expect from Bristolian producers, continuing the narrative of forward-thinking bass music that has characterised the city's contemporary musical legacy." Hyponik
Following critical acclaim for last year's 'No Pasa Nada EP', Bristol based musician/producer and member of the Old Apparatus collective LTO releases his debut album 'The Number From Which All Things Come' on July 8th via Sullen Tone.
Although not a concept album per-se, the title refers to the numerology of the number 10. The ancient Roman occult writer Agrippa attributed the number to a sense of totality and end achievement. 10 was described by Agrippa as a complete figure marking the full course of life.
This 'life' is what LTO has been growing unhurriedly for the past decade – a prolonged period of development and care that's clearly audible in its depth and advanced level of craft. 'The Number From Which All Things Come' contains some tracks started in the recent past whilst early sketches of others began a decade back, at points utilising ideas initially developed with Old Apparatus.
Sounding depilated yet futuristic, natural yet otherworldly, this sonically masterful album shines with a subterranean, baroque beauty. Unlike much electronic music, you don't hear the grid-based basicness of a sequencer or workstation; the album sounds grown and alive, or 3D like a bricolage sculpture made of disparate materials, yet aesthetically stunning and coherent.
Signposts can be found within LTO's fantasy landscapes – from euphoric trance, 90s IDM, jungle to grime – but are grown over, partially obscured and entangled within LTO's cultivation. Utilising hardware, software, real instruments and found sounds, just a few elements included are the sound of an old MIDI controller's motorised faders, the Berlin subway, degraded modular synths, a trampoline, a traditional Celtic Bodhran, the 2012 Olympics construction site, a trumpet, the strings of a dilapidated piano and an 808 beat augmented with crumpling paper.
Also noteworthy are LTO's unique and heavily-treated vocals, which range from chanting robotic voices to chopped up syllables and give certain tracks a Radiohead-like quality.
At times dissonant but never distressing, these various textures either f