James Holden has been working in the outer limits of experimental electronic music for almost 15 years now. His Border Community record label has become a byword for ambitious and progressive electronic music over the past decade. Gldirect 5 0 2 fully executed. Holden’s debut album, 2006’s The Idiots Are Winning, established him as a singularly wondrous and unique producer in his own right. Since that striking debut though, Holden has kept a relatively low profile as an artist in his own right. His seven-year absence from recording makes his second album The Inheritors all the more special.

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• For me, not the usual 'James Holden sound' I was used to, like back in the early 2000's up till 2005. It was the caterpillar's Intervention that caught my attention. When heared it the first time, I played it 5 times in a row. This track is truly amazing and somehow reminds me when a Western movie reaches a final climax.
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James Holden will release his second album, The Inheritors, through Border Community in June. Named after a William Golding book, the album was crafted using Holden's analogue modular system and hand-coded computer programs, which he used to build a series of unique analogue-digital machines.

The Inheritors again sees Holden embarking on a quest to the outer reaches of electronica. It’s a sound quite unlike any other producer’s. Placeless, formless and timeless, his sound patters are indicative of a dazzling musical mind. Experimentation isn’t an indulgence for James Holden; it’s at the core of his musical being.

The Inheritors (named after a William Golding novel) takes much of its influence from the most primitive of musical forms. Ritualistic pagan folk music, ceilidh and traditional musical instrumentation are warped by Holden into something quite beguiling. He describes contemporary raves and clubs as akin to mythical pagan rituals, experiences of communal release. The strange and oblique music he provides is described by the artist as rave music in its truest form. This is rave music, however, warped into something quite different. The eerie, displaced piercing noise of opening track Rannoch Dawn is suggestive of an otherworldly sound. The track sounds like a chugging steam train lurching into life. Battle for middle earth 2 auto defeat cracked. Over the course of its four and a half minutes, a crude ragged beat and sense of discordant rhythm only emerges in its final 90 seconds. It’s one of very few traditional kick drumbeats that feature on the album.

Elsewhere the dissonant and the off-kilter flourish. The music is deceptively complex. Each instrument and sound is played by Holden himself. Running through each of the 15 songs is an evocative sense of atmosphere shaped by the landscape and an almost mythical grandeur. At its most stirring moments, much of The Inheritors sounds stunning. The mangled distressed polyrhythm’s of Renata build to a superlative clangourous climax while InterCity 125 is a wonderful spectral cry, equally bewitching and elusive.

Throughout The Inheritors, you repeatedly get the sense that Holden is not content to just push musical boundaries; he wants to push through those boundaries into something new altogether. Holden recognises that his music has to exist outside of dance music’s traditional parameters. Intense and bristling tracks like Gone Feral, as rough hewn and visceral as its title suggests, are a perfect example of his vaulting ambition.

It does not always come off on the album – the middle section of the record is rather more low-key. However, even these weaker moments play a key role in the functioning of the whole. The album’s penultimate track and eight minute centrepiece is astonishing. Blackpool Late Eighties is spaced out ambient techno that perfectly evokes the feeling of lost lands and new discovery. It exists in a middle ground between the future and the past. It’s perhaps the perfect sonic representation of this album and James Holden’s mindset.

The Inheritors is a rich and vivid work that is as mysterious as it is compelling. For James Holden it is an album that sees him beginning to move beyond an acclaimed producer and DJ into a true composer and electronic visionary.

James Holden’s debut album The Inheritors takes the minimal techno genre and transports it to a truly alien dimension.

The Inheritors James Holden Rare

Border Community, 2013

9.0 / 10

I don’t think I took the genre of minimal techno seriously until I listened to Pantha Du Prince‘s Black Noise in the beginning of 2010. I thought to myself: “how can you make great electronic music without any drops or melodies and have each song over 5 minutes long?” It was then I discovered that sounds as organic as wind chimes could be used to create a strangely delightful rhythm. Pantha Du Prince became my gateway into minimal techno artists like Ricardo Villalobos, Robag Wruhme, John Talabot and more recently Jon Hopkins.

Now it’s 2013 and the genre has almost reached its post state with James Holden’s The Inheritors. The best way to describe The Inheritors is to imagine a forgotten ancient musical relic left by an alien race who had a penchant for classical, experimental house and acid jazz. So, in a way, the listeners are “the inheritors” of this otherworldly music that seems like it should be played at a museum chock full of dinosaurs, antique weaponry and interstellar mobiles. There is even alien-like gibberish that is moaned throughout “||:A Circle Inside A Circle Inside:||” and “Circle of Fifths” that would make any Boards of Canada fan feel right at home.

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Like Boards of Canada’s Tomorrow’s Harvest, The Inheritors has an undeniably cinematic influence. The Inheritors embodies “2001: A Space Odyssey” quite perfectly. There are moments of primeval noise and tribal rhythms that represent the monkeys discovering tools, retro sci-fi synthesizers that represent the space age, dark and ominous feedback loops that are as menacing as the obsidian obelisk and even moments of psychedelic confusion that mirror the ending sequence of the film.

The Inheritors like any good cinematic experience has an amazing first act. “Rannoch Dawn” sets up the album perfectly with its constant guitar down-strumming and a chaotic swirl of ambient noise that just builds and builds until it finally spirals out of the atmosphere. “Renata” is probably the only song on the album which has a quasi-payoff at the end with exploding cymbals, spasmodic horns and a backbeat that just doesn’t quit. “The Caterpillar’s Intervention” makes The Inheritors worth the admission price by its own; it is easily the most emotional and forceful electronic track of the year. The way “Sky Burial” sluggishly oozes fuzzy distorted synthesizer noise and uses the clanging of poles and pipes with a depressing organ in the background exhaling worriedly makes it sound like it is going to be on the soundtrack for Half-Life 3.

The most amazing thing about Holden’s music is that it deconstructs minimal techno and reconstructs it with only a few seemingly spare elements, yet still retains the genre’s epic nature. Each song off The Inheritors also redefines what is a song in the context of electronic music. Does every song have to have “x” in order to make the listener feel “y” or can each song just function on its own merit while at the same time contributing to a larger whole? I think that is why Holden’s music is so interesting because if you probe deep enough you can find yourself in a Socratic mode questioning life, music and cultural constructs (all of this without any intelligible lyrics).

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Some may argue that The Inheritors is a collection of great build-ups that never pay off, but I think that suppression of some soulless drop is what always keeps you on your toes. If you really wanted a payoff, you could always look to Skrillex or every pop song of the last five years. The Inheritors is a patient and sprawling organism that if you repeatedly revisit will reveal layers upon layers of rewarding catharsis.

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