‘Lincoln Road’ returns to the dubby terrain of Bienfait but with eyes fixed squarely on the dancefloor. Rapid 1/16 notes rat-tat-tat beside a fearsome bass-kick hybrid, which steadily throbs and morphs into a looming slab of concrete dub-techno close in spirit to Magnet. There’s none of the acid however, but the minor-keyed synth pad which creeps in like fog makes up it. This is bleak and wonderful stuff.
The title track is the letdown, a restrained tech-pop pseudo-song lumbered with a vocal described by his own PR as amateurish and unpolished. Used sparingly it might possess lo-fi charm, but repeated ad infinitum it sticks in your head like putty. The spiky guitar and what sounds like a Chris Rea break are almost pleasant in a Playhouse way, but nothing really works.
‘Close to Home’ is a different story, an overblown gushing nuumber viewing Cologne minimal through a thick veil of French house. It’s all rather excessive, as synths trail and bleed like the wooziest disco, yet the regimented repetition and use of few elements pull this together stunningly.
Three completely different moods here, and two of them great.