The album is woven of cabbage fringe of bone marrow, turn-minced through velvet cords upon amethyst luster of sugar skulls' scrutiny. A plasticine Bosch being unknit with eagle feathers into shreds of the inquisition, and heavy gait of gothic arcs with orbits of tubes, varying in caliber, directed inwards (in the fractal-torn halo of unwhite clouds there is the moon, shining with electrodes. Check out The Inheritors by James Holden on Beatport. Welcome to Beatport. Beatport is the world's largest electronic music store for DJs. 'Gone Feral' is a growlingly aggressive counterpoint to 'Renata', while 'Blackpool Late Eighties' is an epic, droning slab of heartfelt, melancholic techno more in line with what Holden was doing seven years ago. Clocking in at over 75 minutes, The Inheritors is an exhausting, complex and disorientating listen, but one that will stay with you. Once upon a time, Holden used to bridge the gap between bedroom and club, but now the most suitable location to take in his music would be in the.

The press release accompanying James Holden’s long-waited sophomore record, The Inheritors, is hyperbolic to say the least. It proclaims the 34-year old Devon born man as an “unparalleled” producer who has “woven a rich aural tapestry” with this album and that “nobody is making electronic music as explorative” as Holden – and that’s just the opening paragraph. Get past the PR machine, and you find that while The Inheritors isn’t the pinnacle avant-garde electronic music it’s hailed as, it’s a damn fine collection of songs.

Interestingly, the word that best describes what Holden does – transforms – only appears at the end of the release, as a last-minute thought: “striking a delicate balance between weighty tome and transformative trip.” That said, it probably explains why Holden named his record after the William Golding novel. The Inheritors find Holden attempting to make an electronic record as far removed from popular music circa 2013 as possible – in other words, an honest electronic record. Much like the book, Holden’s songs are, on the surface, simple and sparse in nature, but creep up on you before you take notice. ‘Delabole,’ for example, finds him blotting various sonic elements over a melody established early on that’s reminiscent of the Zelda dungeon music. Slowly, it gets buried under the increasingly overcrowded production. Before you realize it, the hypnotizing melody has blended into the restless haze you’re encircled by.

This is a trick that Holden plays on the listener throughout the album; it’s quite an effective one, at that. ‘Seven Stars’ lulls you in with a pair of lazily stumbling synths while a storm of fizzling white noise sneaks up from the sides and engulfs the listener. Then it snatches the song – and you – away into the night as it ends abruptly. All of this in under two minutes, to boot. He reverses this formula for ‘The Illuminations’ and ‘Rannoch Dawn.’ The former starts out with bright-sky synths bubbling about, then mid-way through, the song’s glow wanders into an aural fog before emerging brighter than before. It isn’t that luminous at the outset, but it feels like it was. The latter begins paranoid and eerie, slowly morphing into industrial EDM as minimalist percussion slithers over the horizon. The rave-built second half of the track compels your brain into double-think. The deception, though, lies not in juxtaposition, but in slight-of-hand – the slow build of Holden’s production is at times so subtle that he can bend reality to his will.

Yet, knowing the trick doesn’t diminish the enjoyment of the initial listen. Instead, repeated spins allow you to focus on the mature songwriting on display. It may appear that Holden uses a tactic akin to a cheap twist ending in order to keep your attention, but that misses the point. A great mid-song transformation, like a plot twist properly employed, forces the listener to reevaluate a song from a different perspective. You’re essentially asking, “Is this worth hearing if I know what’s coming?” For The Inheritors, the answer is “Yes.” You see, the key isn’t that he twisted the plot, but how he did it.

James Holden's A Cambodian Spring OST arrives on Border Community, a fourteen-track selection of pulsing melancholy and everglade drones that are occasionally punctured by a burst of beatless trance, courtesy of his trusted Prophet 600.
A Cambodian Spring is a documentary directed by Christopher Kelly that tells the story of modern political life in Cambodia from the protests that sparked the Cambodian Spring and into its aftermath. Planting the seed that grew into James Holden writing the films OST, Christopher Kelly originally wanted to feature the track Self-Playing Schmaltz from Holden's 2013 now classic LP the Inheritors, this conversation evolved into the idea of James Holden being invited to compose the entire film score, his debut within the world of soundtrack recording.
Where Holden's recent work with The Animal Spirits was a collaborative project that focused in on hypnotic ritual musick and forest dwelling electronic transmissions, A Cambodian OST sees him operating entirely in isolation. Making a departure from the polyrhythmic patterns of his previous records, this OST shows a new side to James Holden's work, one that carries more of a pensive nature and a primary focus on slowly building and endlessly morphing atmospheres that really do capture the emotion portrayed within the film. Summoning up sounds from his self described 'cranky old' Hammond organ, an instrument which began to fall apart during the recording of the score (as made evident on the three-part eulogy Disintegration Drone) the music matches the intensity of the focus of the film, a group of activists fighting corrupt developers and officials as they try and protect their right to their land. From long, drawn-out passages of crystalized arpeggios to the contemplative sawtooth chords, A Cambodian Spring OST as a soundtrack and a stand-alone album in its own right has much to offer all that follow the narrative and step into the story that it tells.
Tracklist:
2:54 | 01. James Holden - Srey Pov's Theme
1:28 | 02. James Holden - Monk's Theme, Pt. I
2:19 | 03. James Holden - Downturn Medley

The Inheritors James Holden Rar Free

1:34 | 04. James Holden - Solidarity Theme (Villagers)
0:53 | 05. James Holden - Monk's Theme, Pt. II
2:00 | 06. James Holden - The Villagers
2:18 | 07. James Holden - Disintegration Drone I
3:26 | 08. James Holden - Solidarity Theme (Release)

James Holden The Inheritors Rar

2:24 | 09. James Holden - Monk's Theme, Pt. III (Exit)
1:26 | 10. James Holden - Reprise
5:20 | 11. James Holden - Disintegration Drone II (Torn Cone)
3:06 | 12. James Holden - Disintegration Drone III (Death Rattle)

James Holden Malta

4:47 | 13. James Holden - Self-Playing Schmaltz

The Inheritors James Holden Rar Online

Dj James Holden

5:16 | 14. James Holden - Srey Pov's Theme (End Credits)

James Holden Live