Release Date: Apr 16, 2013
Record label: Ninja Tune
Genre(s): Electronic, House, Club/Dance
It took Letherette seven years of making music before their first officially released EP arrived, and nearly a decade before they issued their self-titled debut album. Fortunately, this lengthy gestation period paid off: Letherette is an equally subtle and stylish fusion of house, hip-hop, electro, and more. Though Richard Roberts and Andy Harber released their music on Hotep and Ninja Tune, it could just as easily fit on Warp, a label with whom they have several connections.
With chopped falsetto vocals, filthy funk bass, and many a formaggio guitar solo lurking, it's not hard to see that young pretenders Letherette have been influenced by Daft Punk - there’s even a photo online of the Wolverhampton duo imitating their Parisian muses, DJing behind D.I.Y. masks. So, for those of you who’ve been waiting since 2005, Andy Harber and Richard Roberts’ debut release will certainly tide you over until the end of May.
The debut self-titled album by Wolverhampton production duo Andy Harber and Richard Roberts, aka Letherette, is a party album. That’s not to merely denigrate it as a vacuous collection of upbeat euphoric house bangers. Instead, Letherette mirrors the dynamics and feeling of a real party. It is an album of moods and feelings, exultant euphoria and dreamy spaced out reflection.
Music is in the midst of a revolution that is both extraordinary and banal in its familiarity. That a new generation of producers now has (almost) the complete history of music available to them at broadband speeds is both commonplace and a profound rupture. Never has there been less reason to learn an instrument or use hardware. Instead, increasingly, the issue for producers is how to process, evaluate and redeploy the torrent of available material.On paper, the Wolverhampton duo Letherette's response is punkish.
After four EPs and remixes for the likes of Bibio and Machinedrum, UK duo Letherette drop their self-titled debut on Ninja Tune. Immediately, it feels like being tossed into a Euro club a decade ago. There's the muffled build and encompassing drop on "After Dawn," spastic, screeching keys and soprano voices feeding a loop at the close of "The One," a time warp and spiralling synths on "Warstone," and a remarkable resemblance to Daft Punk and Bag Raiders on single "D&T." The album is ridiculously fun and surprising, in that it sounds like much older UK electronic rooted in the present.