It is, in its essence, one of those simplest of pleasures when two of the more expressive, and indeed progressive forces in experimentalia combine. That’s what we’ve got for your baying ears right here, as London-based electronica stalwart Max Cooper (still more or less fresh from his thoroughly refreshing Amalgamations “EP” of yesteryear) intertwines his visionary fabrics with the dulcet sweetnesses of Calgary, Alberta’s all-pervasively beloved starlets, BRAIDS. An introductory glimmer into Cooper’s forthcoming extended play, entitled Fields, Pleasures is instantaneously just that in the singular though judging by the number of times it’s already been around this morning on a most incessant of repeats, well, the pluralisation within its title couldn’t make for a more snug fit. Raphaelle Standell-Preston’s soft and spectral chirps come swathed in what is, as far as BRAIDS may be concerned, an atypically heady globular throb composed of skittering flickers of drum machine and the flittering shuffles that scuttle beyond. Indeed as such, it’s rather more redolent of Standell-Preston’s work alongside Alex Cowan under the duo’s Blue Hawaii guise though in Cooper, the toothsome Canadian daydreamer has again found a most worthy counterpart. Now for that new BRAIDS material, eh?
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