By Geoff Topley
Electronic noiseniks Fuck Buttons return to the public domain with their new album Slow Focus. The fact that this album even exists will be lost on the multitudes who subconsciously know the band after watching goggle-eyed last year's Olympic Opening Ceremony. Most probably didn't even realise the music was theirs, I must admit to even having to think hard about who it was myself, but it was certainly causing flickers on my familiarity sensors. So if it didn't register with you who the band in question were, it's your loss. If you don't get round to hearing Slow Focus, it's a travesty, for this is one of the finest albums that will be released this year.
Every now and again a groundbreaking electronic/dance album comes along that blows all the competition out of the water, think Leftism, Dubnobasswithmyheadman or (for me) The Contino Sessions. Defying genres, no forget that, creating whole new genres, spawning countless imitators. Slow Focus hits you from the get-go and you know instantly that this is a special collection that will be remembered and revered for years to come.
Opening track 'Brainfreeze' is so damn heavy that I can't differentiate what the instruments might be. Ping-pong percussion bouncesabout over the top of a swervy sub-bass, synths swell up in the mix, the tone is futuristic and apocalyptic.
'Year of the Dog' is an odd choice for second track, the pace taken back as the track has no drums, but is constructed of sequencer sounds and squalls of feedback, the wasteland getting more and more barren. This band don't play by any set of rules, even their name suggests a danger and a desire to damage your comfort zone boundaries.
'The Red Wing' takes me back to a time I'd rather not return to, nights spent standing in an expansive plastics factory, thermoforming machines clattering and popping loudly. The intense hum of motors turning, generators throbbing powerfully to keep the industrial clang continuous. That's exactly what the groove of this track brings to my mind, a looping whistle of a busted machine permeates the track and is infiltrated with all manner of electronic distortion. Evil synths bulk up the sound and by the end of the track it's a turbo-driven thing of rare beauty.
'Prince's Prize' consists of off-kilter bell sounds jumping about like some random amoeba under a microscope, unable to settle, the percussion is handclapped manic breakbeat bedlam.
But it's the final two tracks that really finish this superb album off with the enforcing message that album of the year accolades will surely come. 'Stalker' is all John Carpenter waves of super heavy bass, the drums thud with a mighty stomp. Processed strings give a disgusting feeling of being watched, distortion levels creeping into the red. 'Hidden XS' is an otherworldly ice-cream van loop, old skool beats crash and slide and swooshes of electro swirls glide over the top, reminiscent of the old Pet Shop Boys track 'Paninaro' which was ahead of its time. It's a joyous ending to the album, a glimmer of light at the end of the apocalypse. A little sign of life.
I don't really know what the environment for listening to this album should be. Fuck Buttons are a touring band, this is going to go down an absolute storm at a festival near you soon. If the trajectory the album should give the band travels along the flight path as planned, then Fuck Buttons will be appearing at an Opening Ceremony before long. Actually, no, fuck that, this band don't play by the rules. Slow Focus. Magnificent.
