You’ve been hearing the sounds of Chop (used to be Mister – as you’re probably already aware) for some time – from his first EP on Now-Again, the retro-futuristic Lightworlds, to his work on DOOM’s Born Like This, to his reworkings of Pete Rock’s hip hop classics on For Pete’s Sake to Switched On, his Moog synthesizer interpretations of classic 70s funk and rock breakbeats. But our recently issued Illuminate album, his real “debut,” sounds nothing like those albums – and we don’t really have words to describe it. It’s a singular vision, at once pastoral and electrified, of this current zeitgeist, and out of time, both rootsy and intellectual.
Your man Chop’s studio is a temple to gear the likes of which is fetishized on message board posts by those who mastered your favorite musician’s album, and it’s located on a dirt road, abutting an estuary in Northern England. That this type of music comes from this setting is confusing, but it’s also, well, cool. Chop just loves him some crazy gear and some weird processes to make music: those processes lead to the types of tunes you hear in this mix, which he assembled for Jerusalem’s Raash Hour – which draws from Illuminate, and previously unreleased Chop music. Featuring the usual lot of Chop collaborators, including The Heliocentrics Malcolm Catto.