I’m arranging some selected shows for Boxcutter.
Open adtres aren on 25th February and 5th March.
Here are some reviews for your info:

Dubstep mainstay Boxcutter aka Norn Iron’s Barry Lynn delivers his third album for Planet Mu with a distinct progression in sound from the hyper processed ‘Glyphic’. It seems the ultra-tech programming of his previous two albums has left Boxcutter in need of a change, resulting is this shockingly organic and refreshingly energised take on garage, hardcore and electronica with some jazzual help from his buddies in Kinnego Flux. The first real change is ‘Mya Rave’ feeling almost naked without the dynamic trickery, but massively benefitting from richer analog tones, naturally spacious reverbs and a crafty sample of Foul Play’s ‘Dubbin’ You’ used to awesome effect. ‘Arecibo Message’ refers to a sonic signal beamed into space via frequency modulated radio waves in 1974, and it’s representation on this album is a rude breakstep cutter, harking back to the more turbulent sound of early Vex’d mixed with LP5-era Autechre, but it’s when Lynn indulges his predilection for Jazzy improv that some of the most magical moments on the album occur, such as ‘Old School Astronomy’ or ‘A Familiar Sound’ taken from the single with Kinnego Flux. Finishing on the couplet of ‘Kab28’ and ‘A Cosmic Parent’ is a canny move, seeing Lynn move through his entire repertoire of equipment from synths to guitars to delay pedals to neatly blur their boundaries with his unique style.

Having more than whetted the Dubstep community’s seething appetite through a couple of mighty 12″s over on Mu and Hotflush, Boxcutter has found the time to lay out a full-fat album brimming with grubby bass, heavy beats and all manner of electronic dovetails. Pretty much the sole torch-carrier for the Northern Irish dubstep scene, Barry Lynn (aka Boxcutter) makes the kind of lead-heavy missives which share the cross-over appeal of Burial or VEX’D, whilst keeping a foot firmly in the more electronically-founded margins of the genre. Opening with previous 12″ ‘Tauhid’ (sounding just as skittery as it did on release), Boxcutter proceeds to chew the back-end off all manner of digitally fractured beats; with the likes of ‘Grub’, ‘Rikta’ and ‘Brood’ borderline AFX in their gnarled manipulation of the silicon. Really hitting his stride on the barnstorming ‘Skuff’d’ and ‘Silver Birch Solstice’, Lynn is yet another member of the ever-swelling dubstep scene who is willing (and able) to introduce a broader palate of sounds, ensuring the genre continues to flourish and, most crucially, avoid the stagnation so prevalent in anything that gets tagged ‘underground’. With some huge albums due in the near-future (Burial, Skream etc.), 2006 is looking likely to be remembered as the year dubstep came of age. Diamond cut.

You’ll probably know Barry Lynn better as Boxcutter, whose albums Glyphic and Oneiric have stirred up a fuss in various factions of the music world. You might consider Boxcutter to be a logical update of IDM, taking the expanded sonic horizons of the genre and transposing them into a more contemporary dubstep-related context. This collection of early recordings by Lynn showcases this meeting of styles in its nascent stages, referencing breakbeats, garage, dub and jazz alongside the more distinctive Aphexisms that litter his current crop of material. These productions come from the 2002 to 2005 period, situating themselves within the context of a scene that was yet to truly edify itself, consequently, there are few overt nods to dubstep as we know it now – instead Balancing Lakes sounds like a fascinatingly unfocussed affair – but Lynn’s technical, detailed programming remains in full effect regardless of whether or not anyone had a single, handy catch-all name for what Lynn was experimenting with at the time

I hope to hear from you very very soon.




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