Record Reviews

Tracer AMC – Islands – 7/10

Neumu, Tom Ridge

Purely instrumental rock is probably always going to be a fringe activity. Even at its most brutally direct (early Mogwai for example, or almost anything produced by Steve Albini) it retains a distinct air of cultish obscurity. Basically, it’s unlikely to trouble the mainstream, with its limited penetration usually confined to better known cult acts or media-designated “movements” (Tortoise in particular and post rock in general) or integrated into songs within a specific style or genre; the Allman Brothers’ jams, Television’s lengthier guitar explorations, substantial chunks of Can’s oeuvre.

This isn’t to say, though, that it’s not a worthwhile activity, just that it carries around a degree of notional baggage that puts it at something of a disadvantage in the wider marketplace. Tracer AMC, an instrumental four-piece from Northern Ireland, exist in an age where rock’s historical alignments and partisan stances have to an extent collapsed into one another, where a band can sound, at various moments, like Wishbone Ash AND Sonic Youth. And while they are relative latecomers to an amorphously vague strain of instrumental music (post rock, ambient rock; call it what you will), with the in-built disadvantage this implies, their triumph is to nullify any argument about the worth of their chosen path through the sheer beauty of their sound. Islands follows the course set by their debut in 2004, and while not deviating from it greatly, builds on its strengths to produce music that is accessible yet consistently inventive, melodic but subtly challenging. Bookended by the epic “Paper Machete” and “You Follow the Snow and Are Wasted,” the album showcases a deft sense of melody and the band’s ability to shift gear and alter the whole tone of a piece with the smallest of changes, adding to or subtracting from a broad sound palette in order to alter the music’s mood while still retaining a taut momentum.

With such smooth transitions in texture and tempo there’s always the danger of making this sound too easy, but there’s something about the consistency of these tracks that makes them thoroughly absorbing. Tracer AMC’s sound is a concentrated distillation of diverse elements, a streamlined combination of texture, shimmer and groove based on a twin guitar, bass and drums lineup, with its exploratory impulses offset by its seemingly effortless dynamism.

Posted at 9am on 23/12/05 | Comments Off on Tracer AMC – Islands – 7/10 read on

Tracer AMC – Islands – BBC ATL Review

BBC ATL, Stuart Bailie

When American soul musicians want their music to get a bit special, somebody whispers “take it to church” – and immediately the music gets more intense, maybe even sanctified. And loosely, that’s what sometime happens on the new Tracer AMC record.

You can hear the process taking place about eight minutes into ‘Paper Machette’, when the guitar preambles and the mesmeric phrases start to actually mean something and the music sounds holy and true. It’s further proof that Tracer have reached a new level of their art. It’s no longer an indie conceit, the idea of some cool abstraction. These people are emphatically in the zone.

Yes, there are some imperfect moments. ‘In Rivers’ has an uneven flow and the whammy wobble of ‘Rainboat’ is overdone. But mainly, this is rich music for the head and the soul. Instrumental guitar music, expressed through a rack of effects pedals is a famous indulgence trap, but ‘Islands’ is largely spared.

They finish with ‘You Follow The Snow And Are Wasted’, which takes up a quarter of an hour. That’s a great demand on any listener’s life, and they threaten to scare us off after five minutes, but your trust is finally rewarded with a sublime view from the peaks and then a gentle descent towards base camp. See you back there, presently.

Posted at 9am on 10/11/05 | Comments Off on Tracer AMC – Islands – BBC ATL Review read on

Tracer AMC – Islands – Hot Press review

Hot Press, Colin Carberry

It’s an unfortunate fact of life that instrumental rock music seems to draw down upon itself unimaginative dullards like a giant indie plug-hole. We’ve all seen them – those bands full of greasy-haired blokes, capable of clearing venues with their curious blend of passive-aggressive (look at me-don’t look at me) and fetishistic obscurism.

They should stop; because they really do give this often startling style of music a bad name.

Tracer AMC are very much in that elite minority. The suspicion lingers that if Alex Donald and Jonny Ashe (ably assisted by Michael Kinloch and Keith Winter) were a tad more assertive, they’d find themselves praised and lauded well beyond Belfast by now. But then you can hardly expect a band that feels no need for a vocalist to go shouting from the roof-tops.

Not that, when they do eventually open their mouths, you’ll hear them complaining. In fact you will more than likely be bowled over by their untypical enthusiasm and can-do spirit. In the six years since their formation, they have proved themselves to be the most resourceful and unflaggingly energetic band in Christendom – promoting shows, buildings studios, establishing labels, designing sleeves, running PR campaigns.

Along the way, they’ve also produced some incredible music – last year’s debut album Flux And Form defied the circumstances of it’s creation (some parts were recorded in a toilet in the Lisburn Road) to roar home with a confidence and a swagger not normally found in an act of this vintage.

And now we come to this, Islands, a record that is simultaneously more expansive and microscopically intimate, and in places (‘Paper Machete’, ‘In Rivers’) even makes you think of Talk Talk – so sophisticated is the music on offer. Listen to ‘Chalk’ and you’ll be left in no doubt that Tracer have a meltdown or two in them when the need arises, but thankfully they’ve decided to use Islands (with it’s cellist, glockenspiel, and intriguing electronics) as an opportunity to show how light on their feet they are. Closing track ‘You Follow The Snow And Are Wasted’ is a case in point – there’s a storm brewing, but all the colour comes out during the cloud breaks.

Sure, this won’t float everyone’s boat, but if you are prepared to take a gamble on a destination you’ve never tried before, then Islands is well worth the crossing.

Posted at 9am on 25/09/05 | Comments Off on Tracer AMC – Islands – Hot Press review read on

Tracer AMC – Islands – Eclectic Honey Review

Eclectic Honey, Michelle Dalton

Make no mistake, these aren’t easy songs. You won’t find a short and sweet chunk of rugged no-questions-asked math rock anywhere on Islands. But what the album loses out on in terms of pop sensibilities it gains ten times over from the brilliantly delivered lush complexity.

When opener Paper Machete starts throwing its weight around a mere minute and a half in, a journey through a haunting and capricious terrain ensues. But rather than being swallowed up and lost at sea by the ambition that drenches Tracer AMC’s song structures, Jonny Ashe and Michael Kinloch grapple deftly with the underlying premises, and they deal effortlessly with the challenges posed by the melodic lament of Concorde, the understated brooding of Song for V or the whispered Willow Drive Hoboken which is gently nudged into place. The energy harnessed behind Indiscopia almost makes you want to get up and dance, which is more than a little surprising for such chin-stroking instrumentalists like Tracer AMC.

Islands is every bit as good as their excellent debut Flux and Form, and then some. A lot of people don’t like post rock, in which case Islands probably won’t be the album that will convert them. It’s a much too subtle, complex and brilliant record to attract the casual listener. For the instrumental guitar freaks among us though, Islands is probably the must-have record of the year.

Posted at 9am on 24/09/05 | Comments Off on Tracer AMC – Islands – Eclectic Honey Review read on

Tracer AMC – In Rivers e.p – Eclectic Honey Review

It feels like a very long time since Tracer AMC last graced our stereos. Too long in fact. Their debut album Flux and Form still stands up as one of the finest post-rock albums released in recent times, and this 12″ 4 track EP thankfully takes up where its predecessor left off.

Opening track In Rivers offers a subjugated and entranced introduction harnessed by the band’s trademark textured layers. After a couple of minutes heightening the tension, the drum beats assume responsibility, supported by a melodic guitar line that soars through the lilting bassline. Meanwhile the delicately constructed and tenderly delivered The Russian Threat evokes Mogwai et al at their finest.

The flipside reveals Blue Thread Numbers 2 and 3, where the band’s endeavours are supplemented by Beth Winter’s superb violin. As a result the dark atmospherics of In Rivers give way to a lighter blend of math rock leanings. For the most part, Tracer AMC offer a smoother blend of the apocalyptic experience than a lot of their frequently cited counterparts (Godspeed You Black Emperor, Tortoise), almost marrying the pop-song aesthetic with something much more ambitious and substantial. In a sense, Tracer AMC are The Dubliners to Godspeed’s Ulysses.

But as usual their ideas refuse to give up before a highly thorough and complete talking-to by Jonny Ashe and Michael Kinloch, and indeed most of their subtle melodies and riffs feel comfortable just nudging the five minute mark. It gives Tracer AMC’s sentiments enough room to breathe easily without being rushed into premature commitment. Definitely a good augery for the difficult second album. Let’s just say it’s certainly worth digging out the turntable for this one.

Posted at 9am on 10/07/05 | Comments Off on Tracer AMC – In Rivers e.p – Eclectic Honey Review read on

Tracer AMC – Flux & Form – The Big Takeover Review

The Big Takeover, Unknown

Add tracer AMC to the pile of ‘cut-above’ instrumental bands. Inventive,and somehow, truly original sounding melodies? Check. Multi-layered, with intricate, shifting rhythms? Check. An all-in-all amazing sound, one that should be scoring movies? Check. Even the band’s extended-jam tracks, like ‘Catherine Holly’ (which exceeds 10 minutes) are welcome, having enough textural intricacy and chord changes to keep things exciting. Eleven tracks of sustained guitar-bliss.

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Tracer AMC – Flux & Form – Eclectic Honey Review

Eclectic Honey, Michelle Dalton

Tracer AMC’s excellent 7″ on Errol Records a while ago, marked the Belfast band out as one to watch. And seldom has a band matured from EP to album so successfully. It’s a tour de force and yet on occasions Flux and Form is also incredibly understated. Catherine Holly, Copenhagen and Nineteen are all stunning guitar epics that push Tracer AMC’s talent beyond the ten minute mark. Faced with such a mammoth canvas, Jonny Ashe and Michael Kinloch shape their guitars from peak to trough, from fast to slow, and from loud to quiet, creating an expansive ocean of gushing emotion.

But shorter pieces like The Understudy, Charles Street and Anvil Point work just as magnificently; offering a slower-paced breathing space between the intensity of the aforementioned tracks. Blue Thread is beautifully melodic, yet at the same time shifts and swerves itself through a handful of different atmospheres and textures, while the perfectly uncluttered intro of Sleep Trick makes way for some percussion par excellence from Keith Winter. Indeed the inventiveness imbued in Flux and Form is often jaw-droppingly surprising.

Even though Flux and Form clocks in at a rather weighty sixty minutes plus, never once does the listener’s attention wane from the soundscapes and backgrounds that Tracer AMC have sculpted, which is no small feat for a post- rock record made with only a handful of different instruments. Flux and Form brings the old ‘music is the soundtrack to your life’ adage to an entirely new level.

Posted at 9am on 22/04/04 | Comments Off on Tracer AMC – Flux & Form – Eclectic Honey Review read on

Tracer AMC – Flux & Form – Do Something Pretty Review

Do Something Pretty, Mike Diver
A co-release by Bangor’s We Love Records and Bristol’s Errol Records, Tracer AMC’s debut album is one of those all-too-rare releases where finding the right words to convey the feelings experienced during a listen, be it first, second, or, in this writer’s case, ninth time through, is an unrewarding task – ‘Flux And Form’ is simply too damn good. The four-piece weave instrumental masterpieces that seesaw between epic Mogwai-of-old post-rock monsters and bridge-like segments that serve to blend one luscious composition into the next. ‘Catherine Holly’, ‘Some Electric’ and ‘Copenhagen’ are obvious showpieces, but no single track can really stand alone as a representative of ‘Flux And Form’ as a whole, and that’s precisely how you must consume it, or rather, how you should let it consume you; wholly, and all in one mouthful. It’s a rich patchwork of emotionally stirring textures, colours and wordless poetry that moves the listener in a way that contemporary instrumental records rarely can, and subsequently makes this review immediately insignificant. Just listen for yourself, you’ll see.

Do Something Pretty Website

Posted at 9am on 23/03/04 | Comments Off on Tracer AMC – Flux & Form – Do Something Pretty Review read on

Tracer AMC – Flux & Form – The Wire Review

The Wire, Tom Ridge

The debut album from Belfast quartet Tracer AMC is a bridge between sinuous Slint and limpid Television-style guitar rock. Eschewing extremities of volume and experimentation, Tracer AMC opt for a smooth approach, with subtle changes in mood and tempo, enabling them to shift between the aggressive, anthemic and contemplative while maintaining a compulsive momentum. This instrumental music’s grace and strength are most powerfully evident on tracks like the swirling opener “Some Electric”, and the cooly expressive “Catherine Holly” and “Nineteen”, which grow from the chiming interplay of twin guitars to strident peaks of catharis, with the group displaying an impressive mastery of the epic.

The Wire Website

Posted at 9am on 26/02/04 | Comments Off on Tracer AMC – Flux & Form – The Wire Review read on

Tracer AMC – Flux & Form – Bullit Magazine Review

Bullit Magazine, Anthony Dhanendran

By its nature, post-rock is a difficult beast to explain: ‘Well, it’s kind of, layered, multi-textured, orchestral, transcendental’ What’s that? No, there aren’t any vocals, not as such. No, come back, it’s good! It’s all in the progression of the sound, from the humble beginnings of a few notes picked out on a fairly normal-sounding guitar, to the crescendo, when a cathedral of noise, which has been painstakingly built up over several minutes, is hoisted and ceremoniously dropped over the head of the listener.

Temperamentally, ‘Flux And Form’ is a bit happier than your average post-rock album. At least, it is on the surface. Bubbling beneath the waves on several of the tracks are the dark underpinnings of something altogether deeper and more meaningful. On the first listen, Tracer AMC sound just a bit too simplistic, as though they’re merely a standard rock band who’ve forgotten to put the vocal tracks into the final mix. But, and such is the essence of instrumental music, repeated listens will uncover more going on. With more emphasis on standard rock instruments, and less on found noises and glitch sonics, this might be a good introduction for a newcomer to the genre.

Posted at 9am on 25/02/04 | Comments Off on Tracer AMC – Flux & Form – Bullit Magazine Review read on

Tracer AMC – Flux & Form – Alternative Ulster Review

Alternative Ulster, Hack Startling

Amid considerable local interest, Tracer AMC, simultaneously one of our finest and most perplexing acts, have finally committed to the full length album treatment, and on their own terms. A definitive “thesaurus” act, their atypical, vocal-free soundscaping and quiet-loud live epics have been wowing and bewildering audiences for significantly longer and with a more supportive fanbase than the average unsigned band ever achieves. Ever the square peg, these brave fellows have now grasped the nettle and pushed this out to the nations on their own label.

The good news for purists is that their trademark textures never let up from one track to the bittersweet end, with near-identikit drum production, pedal work and technique from song to song. Certainly the dynamics whisper and yell as expected, but even one sympathetic key signature too many can place one track in danger of sinking into another with not much let up or relief. Without due care, minutes of arpeggios, tickled drums and wafting harmonics can flock by almost unheard; the lack of instrumental contrast requires an attention span well beyond the usual “post rock” opus. But while this is decisively not an album for operating heavy machinery to, it’s no crime for a piece of music to ask a little work from its audience. Rewards for perseverance and concentration are delivered in tight performances and ambitious musicianship. By turns playful, sorrowful, languid and furious, their skill as a band is remarkable, and they know each other uncommonly well.

Tracer AMC’s lack of a frontman has been taken for a selling point, hailed as a virtue and damned as a handicap, with a subtle scene buzz that they’d have long since gone national with a capable singer at the centre. Is the right vocalist not capable of making a beautiful sound too? Whether this band’s unconventional dogma is a political mechanism to maintain egocentric stability or, more suitably romantically, a genuine conviction that their course is vocationally, unswervably true, their chosen consistency doesn’t quite stretch across the length of the album unscathed; there is the occasional wanting interval where it feels as though some phantom vocalist has popped out for a fag and left the band playing accompaniment to nothing. Live, of course, this is one of Tracer AMC’s most attractive qualities – space to fill in the blanks and let the mind wander in an almost classical reverie – but without the communion of a Tracer AMC gig, an ear-piercing PA and the affable sight of these earnest blokes veering between sullen strumming and getting medieval on their instruments, the domestic experience needs a little ketchup.

The significance of this release to the local music scene is undeniable, and Tracer AMC are guaranteed extravagant short-term praise for the efforts, whether the result warrants a Palm Sunday or not. Thankfully, despite some points of dissatisfaction and falling slightly short of the mark while gamely attempting to bottle their own peculiar essence, they have created a consistent, challenging and often very beautiful work. Having arguably released the best commercially available local rock record since Screamager (for whatever that is worth), they surely have it within them, if they push past their doctrinal restraints and studio inhibitions, to become truly special and deliver us our first classic album. No pressure.

Posted at 9am on 12/02/04 | Comments Off on Tracer AMC – Flux & Form – Alternative Ulster Review read on

Tracer AMC – Flux & Form – Irish Times Review

Irish Times, Paul McNamee
Influenced heavily by Godspeed and Mogwai, Belfast four-piece Tracer AMC’s brand of instrumental peaks and troughs used to be called post-rock until that became a byword for lazy noodling. And Tracer AMC are anything but lazy. They have toiled for over a year to record this, their debut album, in a succession of bedrooms and front rooms. It’s a precise and exact record, quietly going about its atmospheric business, swooping in and around melodies before dramatically finding its feet – halfway through the lush Catherine Holly, and from the start of the pointed, angry The Understudy. There are perfectly formed violin runs, echoes of Dakota Suite (the melancholic Leeds outfit who released two albums of understated beauty) and shadows of Iceland’s Sigur Ros. It’s a very un-Irish Irish album, resolutely left-field, determinedly out scuffing around music’s edges and several leagues beyond the product of Tracer’s local peers.

Irish Times Website

Posted at 9am on 12/02/04 | Comments Off on Tracer AMC – Flux & Form – Irish Times Review read on

Tracer AMC – Flux & Form – Hotpress Review

Hotpress, Cian Murtagh
Tracer Fire

Before getting down to business I have to admit that I normally reserve a healthy skepticisim when it comes to instrumental groups. They usually strike me as being fascinated with their own self importance and too often tarnish their music with their eagerness to sound interesting or cool. Not so with Tracer AMC. Right from the opening ‘Some Electric’, with the hauntingly beautiful violin of guest perfomer Beth Winter, the Belfast based group deliver their mission statement – prepare to change your preconceptions! Flux and Form is the quartet’s debut album and there’s a refreshing naivety to their work that sees them create swirling melodies and rhythms spinning around well defined guitar phrases. The ensemble remain unpretentious about their work and are too busy creating melodic symphonies to indulge in naval gazing. They’ve been compared to the likes of Mogwai and Tortoise, but listening to the title track and the brilliant ‘Catherine Holly’ it’s groups like Doves or La Rocca that immediately spring to mind. Winter returns to make ‘Blue Thread’ the standout track, as guitar, violin and glockenspiel weave in and out in a careful choreographed dance.


Posted at 9am on 29/01/04 | Comments Off on Tracer AMC – Flux & Form – Hotpress Review read on

Tracer AMC – Flux & Form – BBC ATL Review

BBC Across The Line Website, Stuart Bailie

It’s all about the algebra, baby. It’s about crisp, tightly defined guitar phrases. It’s about the lovely curve of an instrumental track, surging and then falling away, as directed. It’s about the physics of electrical pick-ups, foot pedals, fingers and faders. And ultimately, it’s about the transcendence that happens when all of these factors meet in some wonderful accord, when the music lifts you to some sublime joint where fashion, pretension and the debilitating factors of Ulster rock are all rendered meaningless.

Tracer AMC have some of these moments on their new record. There’s one rather great epiphany that starts around 2:30 on the title track. There’s another on “Catherine Holly” which starts in a rather fussy, self-conscious fashion, and then it turns immense after the seven minute mark and never looks back.

Alex, Jonny, Michael and Keith played some top shows in 2003, increasingly bold and loud. Before that, they seemed to be weighed down by the sum of their influences, by the difficulty of making the idea work in a series of pokey, ill-prepared venues. So here’s the fine proof of it; recorded well, smartly designed, no excuses or apologies strapped to the side.

‘Blue Thread’ gets all chamber music on yo’ ass. The violin makes wise, swirling noises and makes you think of John Cale on the sweeter Velvets tunes. There’s a deal of spatial folk-jazz on ‘Sleep Trick’ which recalls the work of David Pajo during his Papa M phase. And you can be sure that Tracer AMC, with their ocean of left-field fancies, are dabbling in ideas from many unlikely places that we’ll never know of.

They finish off with ‘Nineteen’, another chance to vault the ten minute mark, loaded with melodic curlicues, uncommon time signatures and tremendous ambition. Buy this record, in the name of good flux.

Posted at 9am on 20/01/04 | Comments Off on Tracer AMC – Flux & Form – BBC ATL Review read on

TRACER AMC – Pelican e.p. – Review, unknown

If that didn’t float your boat then how about some drift laden melodies from Tracer AMC. Second release for this lot, last seen debuting for We Love Records last year. ‘Pelican’ the lead track is a monumental epic clocking in at 8 minutes in length, a slow to burn guitar lead instrumental that seems to take an age to unfurl yet sweeps you along in it’s brooding glory all the same. Unexpectedly switching pace mid way through to lighter textures building layer upon layer towards a weighty and furious finale.
‘Sirius’ is equally endowed, sounding like the theme for a yet to written down on his luck hero with a chiselled chin and crafty smile type of spy drama, or maybe a pensive offshoot from ‘Twin Peaks’. Emitting spine tingling perky lanes with layered samples from, I think, ‘Alice in Wonderland’, though I’m probably wrong as always, ‘Sirius’ is spellbinding. The coyly and equally peachy sweetness of the closing ‘Elmwood Avenue’ neatly rounds of an inspiring pocketful of pop dreaminess.

Posted at 10am on 23/11/02 | Comments Off on TRACER AMC – Pelican e.p. – Review read on

TRACER AMC – Pelican e.p. – A Cheery Wave From Stranded Youngsters Fanzine Review

A Cheery Wave From Stranded Youngsters Fanzine, Unknown

It’s a three track 7″ from a Northern Irish three-piece – and it’s hard to believe that a sound so expansive was createdby so few people. Floating along the same icily windswept un-plain plane as manifold ‘post-rock’groups, this creates the same problems of description for a music-lover who doesn’t play music, all being instrumental pieces of, mmm, loveliness. ‘Pelican’ starts out slow building like Sigur Ros, before diving into swift finger-licking-good-finger-picking crafty like Scotland’s best kept secret p*st-rockers Laeto – it’s only problem is that it seems to end prematurely, but maybe it’s just my old record player that forces the needle to hop off while the music is still on. Elsewhere they’re slow and good with a glockenspiel in mellow mood like Mogwai’s ‘Christmas Song’ or ‘Stanley Kubrick’, alien violin and chiming guitar like the Zephyrs… but listening to these groups, small differences make themselves known, like the clunky Mogwai, not heavy handed but not so light-footed as Laeto, the ethereal falsettos of Sigur Ros’ soundscapes… What sets Tracer AMC apart is the subtle dynamic of their sound the lightness of touch comparable to Low but running off in new directions.

Posted at 10am on 01/11/01 | Comments Off on TRACER AMC – Pelican e.p. – A Cheery Wave From Stranded Youngsters Fanzine Review read on

TRACER AMC – Pelican e.p. – Record Collector Review

Record Collector, Unknown

Join us, if you will, in the murky yet beguiling world of Tracer AMC. What the music or the band’s name means, we know not, but both sound pretty darn good. It’s an worn-out comparison, but if you’re partial to the quiet side of Mogwai, then this should be right up your street. The band claim to be part of a nu-gazing movement, but that’s doing themselves a disservice, we feel. The shuffling beats halfway through, when the song changes direction completely, make for a varied listen much more worthy than the meandering indulgence of so many other miserable indie types. Brilliant.

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TRACER AMC – Pelican e.p. – Drowned in Sound Review

Drowned in Sound, Sara El-Hanfy

It’s a cold, dark night. You see your breath in the air as you walk through the streets. The stars above you twinkle and you’re full of hope. No words could sum up how you feel; this is where Tracer AMC come in. Think the glorious understatement of Low, the obvious instrumental similarity with Mogwai but more so the increased orchestral development of the Come On Die Young album, the twinkling pianos of Mercury Rev (although you’ll have to imagine those pianos sounding like glockenspiels). Add a touch of Galaxie 500 and you’ll have the dream-worthy tracks of Tracer AMC. Magical.

Posted at 10am on 21/08/01 | Comments Off on TRACER AMC – Pelican e.p. – Drowned in Sound Review read on

Song For Amber and Red

Robots and Electronic Brains, Jimmy Possesion

Not to be confused with early 90s rappers Kiss AMC whose single memorable contribution to the pop canon involved the superbly-crafted theft of a riff from the Emerald Isle’s biggest ponces, U2, and called, brilliantly, “A Bit Of U2.” This single is the first in a series from We Love Records which will release “short pressing 7 inch singles in handmade sleeves; the music… ambient guitar sounds and bass loops combined with drums to create vast soundscapes.” Couldn’t really have put it much better without mentioning Mogwai meself, although Tracer AMC never quite reach the splenetic intensity of their Scottish cousins. “Song for Amber and Red” is the better of the two here by virtue of its simplicity which, perversely, comes from the guitarist and bassist swapping instruments for the duration of the song. Still an auspicious debut, however. weloverecords PO Box 1222, Belfast, BT2 8AW, Northern Ireland

Posted at 12am on 24/06/00 | Comments Off on Song For Amber and Red read on