Seefeel returns with its first album in fifteen years, a magnificent hazy and ecstatic collection of fractured melodies and vaporous textures. In a way, this album can be considered Seefeel’s “dub” album: Mark Clifford’s deceptively airy arrangements are close to ambient when the record is played at low volume, but when it is played at full volume, the cavernous depth of the bass and the skillful use of effects become more apparent, disrupting the listener’s perception of time and sonic location. As always with Seefeel, the album never drifts too far into cold experimentalism or synthetic texture. Sarah Peacock’s heavily manipulated voice brings an essential human element to the tracks, while the processed guitar loops allow the melody to float through the traces of delay. The group’s initial perception as sitting at the crossroads of electronic music and experimental guitar music meant it was often overlooked early in its career, as its music was not immediately recognizable in either scene. Over the years, however, this blurring of genres has proved increasingly prescient regarding the evolution of music, and the group has gradually built a catalog of tracks that have stood the test of time without losing their relevance, unlike those of some of their more era- and genre-bound contemporaries. “Seefeel: first album in 15 years for the Warp legend For many people, Warp’s tolerance for guitars dates back to the mid-2000s, when the Sheffield label chose to sign projects like !!! (chk chk chk), Gravenhurst or Maxïmo Park. Except that the first guitar-based band to land on Warp was Seefeel, and that goes back to the early 90s. And the least we can say is that the band knew how to make an entrance with the masterful Quique. We are in 2026 and Seefeel has no intention of giving up.” --- goûtemesdisques ---