Deep Distance 10″ x 3 (Rhododendron, Bosques & Slows)

Deep Distance 10" x 3

Deep Distance 10″ x 3

Birthed in 2011 as a lower-key sibling of The Great Pop Supplement, for owner/curator Dom Martin to more fully indulge his self-confessed penchant for the “motorik kraut groove,” the Deep Distance label has fast become an enlightening and expansive outlet in own right.  Putting out top-notch wares from the likes of Colin Potter, Melodien, Karen Novotny X, Umberto and Tim Gane’s post-Stereolab outfit Cavern Of Anti-Matter in high-craft artwork, Deep Distance is increasingly a ‘go-to’ outpost for those needing to exhale (as artists) and inhale (as listeners) some intoxicating kosmische inspired sonic vapours.

These three new simultaneously-released 10” EPs from Deep Distance herald a promising start to the imprint’s latest year of existence.  Bravely yet confidently showcasing three relatively unheard of artists – albeit with some backstories in other enterprises – in semi-generic yet distinctive new ‘company’ packaging, this trio of vinyl artefacts is a must for those who share the same insatiable yet discerning lust for all the things that inspired Martin to set-up Deep Distance in the first place.

The crème de la crème of this triumvirate is a proper debut outing from Rhododendron (after a fleeting appearance on Deep Distance’s 2013 10” Grasshopper Mind RSD compilation EP).  The product of a collaboration between Darren Morris and Oliver Cherer (the latter best known for work his work as Dollboy, within Silver Servants and as a solo artist), Rhododendron deliver two extended tracks of mesmeric bliss.  Although the A-side of “Paris Rendezvous” was originally conceived as an improvised soundtrack to a Claude Lelouch film it drives along assuredly as a standalone piece; through Michael Karoli-meets-Michael Rother guitars, a blur of synths, an insistent bass line, propulsive drums and all manner of vintage experimentalist layers.  The AA-side of “Le Grind” – which goes for less widescreen tropes in favour of a pulsing fuzzy bass and buzzing analogue electronics – is equally enthralling, as a Tubeway Army-meets-Vangelis cross-fertilisation.

Close behind in the quality stakes comes a three-track set from the more psyche-scented Argentinian outfit Bosques.  Already building a niche following since forming in 2009, the multi-instrumentalist duo delivers a tri-part calling-card that should ensnare devout Neu! followers (“Eomaia Recuerda”), shamanistic pastoral commune devotees (“Mis Manos Las Manos”) and late-era Spacemen 3 worshippers (“Interferencia”).  Last but not least is an inaugural one-man offering from latter-day Wire guitarist Matthew Simms.  Minimalist in terms of project moniker (Slows), track names (the duration-derived “13’56” and “13’05”) and instrumentation (farfisa organ put through an array of effects), Simms’s EP meditatively joins the dots between the serene space-age moods of peak Tangerine Dream and Yo La Tengo’s most introspective off-piste instrumentals – happily proving that although Deep Distance has a fairly specific genre remit it’s not a religiously restrictive one.

This broad church philosophy, accommodating to multiple motorik sects, should serve the Deep Distance schedule well throughout the rest of 2015, with releases from The Listening Centre, Sula Bassana, Panabrite and Cosmic Ground all queuing-up for vinyl manufacture.  In the interim though, this troika of 10 inchers should open and infuse suitably receptive ears with remarkable ease.  As a relevant side-note, those needing to delve even deeper in the world of Dom Martin’s sonic gold mining endeavours should keep also an eye on his recently established micro-boutique label, Polytechnic Youth, for even more esoteric and incredibly limited edition vinyl explorations.

Deep Distance