Alert: Our website does not support Internet Explorer 9. Please update your browser or choose a different one to continue.

John Chantler

Even Clean Hands Damage The Work

June 16, 2014
LP Digital, Streaming

Even Clean Hands Damage The Work is the new LP from UK based artist John Chantler. Following on from The Luminous Ground, his critically acclaimed album from 2011, Even Clean Hands Damage The Work sees Chantler delve ever deeper into the inner zones of audible electricity. Like its predecessor, this is an album generous in texture and dimension, but moreover it is a record of incendiary dynamic force; shifting and arcing with a relentless ferocity.

Recorded across a range of studios including Stockholm’s hallowed EMS (Elektronmusikstudion) using their classic Buchla 200 and Serge systems, the album’s composition bares the marks of over two years of refinement. At times intensely fierce and brutal in its sonic character, Even Clean Hands Damage The Work is at its heart an expression of the power of dynamics. The LP throws huge blocks of massed harmonics into suspension, sometimes smearing them into distorted half phrases and twisted variations through spectral and time domain processing. At other times it freezes them in a way that appears to deconstruct time without ever being overtly rhythmic. The pieces slow down to rest around beds of beating tones and difference frequencies that affect a tripping, acceleration via momentary interventions. It also relies less on recognisable melodic motifs and though they’re hidden across the record’s duration Even Clean Hands Damage The Work is more readily characterised by variations of timbre and apparent repetition.

The five discrete movements of the LP are compiled as two continuous side-long suites, each one constantly straining to find moments of balance between an uneasy sea of swarming, voltage controlled electronics.


selected press

FACT: “… these are dense and occasionally gorgeous drone epics, exhibiting the sort of character we rarely hear from modern synthesizer music.” 
Boomkat: “It breaks down to five pieces radiating outwards from the twisting knot of electronic turmoil in ‘November Pts I-II’ thru the dramatically emotive wrench of ‘Dismantled Cabaret’ coming off like Fennesz having a panic attack, to frozen organ drones and fractured rhythms in ‘Wollmar Organ’ and the brownian current of ‘The Knight Firth’. Highly Recommended.” 
Fluid Radio: “A sense of compositional focus, of every sound being intentionally and thoughtfully deployed within a structure, can be heard throughout both pieces.” 
ATTN: “Even Clean Hands Damage The Work sources more prominently from the kinetic palette of depth: electronic explosions vacuum-sucked into distant corners, drones rotated to unveil serrated underbellies and cast particular overtones in shadow.” 
Ears For Eyes: “‘Even Clean Hands Damage the Work’ is pyrrhic and hypnotically captivating music; a moment-to-moment drama.” 
Bleep: “The album derives its noisy, abrasive textures from spectral and time domain processing, perfected over a period of two years.” 
The Vinyl Factory: #88, top vinyl releases of 2014