Dis­ori­en­tat­ing whis­pers of the mod­ern oth­er­world.

Prog - - Intro - CR

Gen­er­ally, a fo­cus group will end up giv­ing you some­thing bland and beige, a low­est com­mon de­nom­i­na­tor which no­body par­tic­u­larly loathes but no­body es­pe­cially loves. Not this Fo­cus Group. StopMo­tion Hap­pen­ing is an un­nerv­ing, fairly bonkers stream of treated elec­tron­ica and sam­ples which ab­so­lutely re­fuses to do any­thing con­ven­tional. It’s as if way­ward ghosts of Ital­ian hor­ror movie sound­tracks, the spirit of psychedelia and a space­ship full of pissed-off com­put­ers were hav­ing an ar­gu­ment, a bunch of bleeps, glitches and whis­tles to scep­tics, but deeply en­gag­ing ex­per­i­men­ta­tion to those on­side. It’s the fifth al­bum from the some­time Broad­cast col­lab­o­ra­tor, graphic artist Ju­lian House, known per­haps pri­mar­ily for his sleeve de­signs for every­one from Can and Stere­o­lab to Oa­sis and Pri­mal Scream. Quot­ing Mar­shall McLuhan re­gard­ing the sen­sory over-stim­u­la­tion of our current world, it hits you with a se­ries of brief, un­set­tling yet some­how ra­tio­nal sounds and noises. One mo­ment you’re trapped on the set of Play School, the next you’re wrestling with Hal as Stan­ley Kubrick looks on, stroking his beard. At seven min­utes, Medium In The Mir­ror is by far the long­est, most co­he­sive freaky vis­i­ta­tion. Coldly chal­leng­ing.

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