Bruno Pronsato’s debut album as Archangel, The Bedroom Slant, released in 2014, saw the producer update the style he has developed over the last decade on labels such as Hello?Repeat, Perlon, DFA and TheSongSays, and in the process, manifesting his love of pop, rock and post-punk in his music for the first time. On this EP, selected tracks from the debut album are reworked by Dean Blunt, Peter Gordon & Oliver Coates. The vinyl release includes a downloadcode.
The EP opens with “Blue Eyes Blind/This Romance,” an early, unreleased track from 2012. A perfect blend of the percussive dancefloor Bruno Pronsato sound and his darkly melodic and lyrical Archangel aesthetic, the overlap between the projects at this early stage is captured in the recording.
Dean Blunt, using an extracted loop of Pronsato’s percussion as foundation for his euphoric strings, creates a unique 23-minute automated spoken-word rework of “Julia.” (9.5-minutes for the vinyl edit). It details the first narcotic experiences of the narrator (with numerous appearances by Dean Blunt, himself, as a character in the narrative). A 90-second instrumental snippet of this piece was extracted for use as the intro for Dean Blunt’s temporarily available Babyfather download-only album, continuing the enigmatic producer’s hall-of-mirrors style approach that often manifests itself in his own work, as it also did in Hype Williams.
New York Downtown-scene figurehead and Love Of Life Orchestra bandleader, Peter Gordon, having made a guest appearance on The Bedroom Slant on the album track “Steal The Groom,” now strips back the album opener “Half-Man Half-Lisa.” On what is his first ever remix, Gordon draws out the original’s track‘s obscured undertones while enriching Pronsato’s intricate percussive patterns further by adding his own playful rhythms and restless melodies.
Cellist and producer, Oliver Coates brings the EP to a close with his reworking of the album’s only instrumental, “L.A. Teen (Live).” Recorded in an apartment in Hong Kong during the protests at the end of 2014, the Jonny Greenwood, & Micachu collaborator dramatically rearranges the original track’s synthesized melody for cello, adding his own electronics and reconstructing the original track’s percussive elements to fit his vision.