By on February 4, 2013




LABEL: Rotters Golf Club




Andrew Weatherall’s extraordinary twenty-five year career in music has been characterised by a series of unique partnerships. Before even touching on his nineteen albums, thirty or so EPs and singles plus more than two hundred and fifty remixes we should hark back to the early days of acid house when he worked with Danny Rampling at the legendary Shoom Club and with Terry Farley on the Boys Own Fanzine which morphed into the label that released the first records by Underworld and Chemical Brothers.

Andrew broke with the label to form Sabres of Paradise with Jagz Kooner and Gary Burns which linked with Warp Records and gave him the impetus to fire up his own record company named after the group. This in turn kick started a whole slew of new relationships.

His remix adventures had taken off in collaboration with Paul Oakenfold on Happy Mondays’ Hallelujah and he has since brought a distinctive flavour to hundreds of other artists. They had to invent google just to give fans access to the complete list.  Latest out of the gate are reinterpretations for Cut Copy, Wooden Shjips and Madness.

Remixes led to a smattering of production duties. Andrew only rarely wears the producer hat but on each occasion, from Primal Scream’s 1991 Screamadelica to 2009’s Tarot Sport by Fuck Buttons, the results are outstanding.

Looking at Andrew’s partnerships from another angle he was the man who first introduced dance to indie and later brought electronic rhythms to his own updated take on rockabilly.  His writings have endowed his lyrics with surprising literary references adding yet another dimension to his songs and his record cover images have regularly featured his linocuts (which echo the work of Emil Nolde and Frans Masereel) instead of the computer generated images usually fed to the electronica audience. Last but by no means least a vital partner throughout his recording career is his home city of London. Andrew’s fascination with its history, culture and atmosphere has infused everything he has done since he used to escape into its night time streets, bars and clubs as a teenager.

All of which brings us back to the close partnerships he has formed while pursing his personal musical vision…

The latest incarnation is The Asphodells. This time Andrew has partnered with Timothy J. Fairplay. Their friendship goes back to Tim’s time with Battant in the latter part of the 2000’s with Andrew helping out on production. Tim has been responsible for a number of independent tracks variously on Astro Lab Recordings, World Unknown, Bird Scarer, Emotional Response and Magic Feet. He has played live across Europe including at Fabric in London and Robert Johnson in Germany and DJs at regular Glasgow night Crimes of the Future with Scott Fraser.

Musically the album’s yet another game changer. Andrew has left behind the rock and roll leanings of Wrong Meeting and A Pox on the Pioneers and looks back over his shoulder to the purer electronics of the Kraftwerk-inflected Two Lone Swordsmen but without the sparse introspection that characterised those times. Now the music is saturated in repetitive beats overlaid with sinuous melodies played out over whole tracks. Songs still feature but sound haunted, guitars still ground the tracks but are more resonant. John Betjeman’s ‘Late Flowering Lust’ sits surprisingly comfortably alongside A.R. Kane’s ‘A Love from Outer Space’ but ultimately it’s Weatherall and Fairplay that imbue the album with it’s own sense of a journey through a time and space that only dimly reflects our own.

TRACKLIST: 01 Beglammered / 02 Never There / 03 Skwatch / 04 Another Lonely City / 05 Late Flowering Lust / 06 Late Flowering Dub / 07 We Are The Axis / 08 One Minute’s Silence / 09 The Quiet Dignity (Of Unwitnessed Lives) / 10 A Love From Outer Space (Version 2) 


Author: DaveHHM

Dave Luttrull: Owner/Editor in Chief of Hellhound Music. Star Wars nerd, Gamer, Destiny homer, blogger, writer and lover of all things music.