Wednesday, 19 June 2019

Peter Hope & David Harrow - Wrong Acid EP (2019)


At the risk of turning this enterprise into something resembling Disney's Mouseketeers but with Peter Hope as the point of focus, here's yet another one on the grounds that he keeps sticking stuff out and it's usually decent, and I therefore keep buying it. Wrong Acid represents, as you might expect, a further helping of acid, techno, or whatever else you might feel like calling it in the vein of Gut Acid from 2017. Actually Wrong Acid borrows both Muthaload and Planet Wrong from the aforementioned, presumably remixed - I found it difficult to tell, but the information you need is that taken as a whole this seems a somehow darker, punchier set which surfs that crest of a pharmaceutical wave which never quite decides whether it's coming down on the side of euphoria, or if you've just signed up for a really shitty trip; but the repetition keeps us going. It's edgily hypnotic, as you might expect, belonging to the whole acid thing without sounding like it's simply duplicating all the right noises. Unusually for this sort of music, at least in my experience, most of the tracks are vocal cuts urging the rest of us to spend all that energy on fighting the power, so it's acid with the feel of punk rock as was, or as it should have turned out - jagged and trippy and resistant to coercion; which works because the vocals are heavily treated and share the space with all the weirdy effects and surges rather than dominating as a more traditional vocal might. The result, should you need any further point of reference, reminds me a little of Underworld, although it should probably be noted that I only really know Born Slippy due to it having appeared on the Trainspotting soundtrack.




As a sort of pendant, or possibly an epilogue, KinetiK Records of Greece issued a lathe cut 7" by Hope and Harrow more or less contemporaneous to Wrong Acid - two tracks, Feel with Fear and Love on the other side. You can tell these came from the same people but the mood is more sombre, positively downtempo, yet with that same feel of digital so dirty you could quite easily mistake it for analogue. Being a lathe cut record, there's a limit to the run, but they still had copies here at time of writing, so you'd be advised to move quickly if you want one - and you should if you have any fucking taste whatsoever.

Someone really needs to throw money at this man and start getting this stuff preserved on vinyl for the benefit of future generations.

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