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Marco Bernardi – Music For Short Attentions

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50484.jpgLabel: Hype LTD Score: 7/10

If Music For Short Attentions (attention apparently so short that they can’t stretch to the word “span”) was summarised as being a bit of a mixed bag, you’d be forgiven for thinking it had its share of lowlights to go with the high. It turns out that Marco Bernardi’s EP is the literal definition of the term, with a multitude of styles covered in, at worst, solid form by the Bristol based producer.

Anthemic techno, that is reminiscent of Funk D’Void at his most peaking, opens the collection with aplomb on No One Seems To Care, while the closer, Japanese Firecracker, is poles apart with its spindly oriental flecked electro. The familiar tape saturated strains of lofi percussion, a nod to Bernardi’s portfolio which has seen appearances on MOS and Delsin, kicks off Meteor before they are joined by growling bassline that all but shakes off any outsider pretences. Rounding things off, retro flavoured and straight up house is gilded with a electronic thread on Inbetween Fire, with the shackles thrown off through the off kilter shamble in The Final Triangle.

As you can probably tell from the adjective salad in the passage before, the consequence of an almost résumé approach to compiling this collection is a lack of narrative. Perhaps that was the intent of Bernardi, going for a pick and choose scattergun approach to satisfy the instant gratification needs of a gluttonous public, in which case expect this to do maximum damage when it hits a digital run. As a forté, this music is of the sort that gladly suffers needle drops and even scanning through low bit-rate snippets will get even the most languid of jocks up and paying attention.

So even though Music For Short Attentions will never be a cult curio, what you do end up with is a series of highly focused dancefloor bombs; a package that can sit in your box without fear of being shifted, ready to be used to adapt to future nights of varying moods.

 

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Grahame Farmer

Grahame Farmer’s love affair with electronic music goes back to the mid-90s when he first began to venture into the UK’s beloved rave culture, finding himself interlaced with some of the country’s most seminal club spaces. A trip to dance music’s anointed holy ground of Ibiza in 1997 then cemented his sense of purpose and laid the foundations for what was to come over the next few decades of his marriage to the music industry.

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