Nick Edwards has been making music for nearly 20 years, although this is the only release since his first tape to use his real name; what with the picture on the front, the excellent Plekzationz seems on the surface at least to be a real ‘this is me’ moment. Except that the album title, and the music itself, suggest a strong link to his best known recording guise, Ekoplekz, so it’s probably best not to read too much into any of this. It may just be that having been so closely associated with Mordant, the home of hauntological library music, recently, Edwards is trying to shake off any preconceptions about his work.
The album itself is made up of four lengthy explorations into constantly mutating industrial- and dub- influenced music. Opener “Chance Meets Causality Uptown” places a sinewy bass guitar in the midst of what sounds like a phased field recording made on board the Nostromo from the movie Alien, all clanking metal and drops of water; the bass provides some structure and momentum but has to retire mid-way through in the face of overwhelming sonic opposition before making a comeback towards the end. This seems the basic set-up that Edwards is operating with; his pieces gradually form some kind of shape before eventually collapsing in upon themselves. “(No) Escape From ’79” follows a similar pattern except rather than a bass guitar, Edwards utilises a John Carpenter-esque dubby synth bass before subjecting it to walls of metally feedback.
These are pieces that could, arguably, stick with the original groove and play out over the duration, but Edwards is interested in challenging and placing pressure on his initial ideas; there’s never a dull moment and no chance of the listener drifting off into a trance-like state, buoyed by the repetition of the music. The blasted dub of “Inside The Analog Continuum” sounds like it was inspired by the empty warehouses and factories of an industrial wasteland, which is typical of the whole album; the soundtrack of a dystopian present. (Jeremy Bye)