LHF
Keepers of the Light
Release Date: May 8, 2012
Genre(s): Electronic, Club/Dance
Record label: Keysound Recordings
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Album Review: Keepers of the Light by LHF
Exceptionally Good, Based on 4 Critics
Based on rating 4.5/5
Martin Clark has long been mythologizing London's urban landscape through the hardcore continuum, and more recently creating it with his own Keysound label. There's hardly been a better match for Clark's keen mix of the theoretical with the throbbing than London collective LHF, snatched up by Clark for Keysound in 2009 and since releasing three EPs. The seven-strong collective (reduced to four names on their Keysound releases) have a heavily hybridized sound with one foot in DMZ dubstep foundations and the other with a toe in every 'nuum wading pool you could think of.
Based on rating 85%%
LHFKeepers Of The Light[Keysound; 2012]By Will Ryan; April 27, 2012Purchase at: Insound (Vinyl) | Amazon (MP3 & CD) | iTunes | MOGTweet"In a profound sense, underneath two decades of relentless sonic mutation, this is the same music, the same culture." That's critic Simon Reynolds in his 2009 introduction to a series of essays he wrote chronicling what he calls the "hardcore continuum" - the pervading evolution of British underground dance music since the late 1980s. It's a phrase I haven't heard in a while, but it's one that keeps coming up around London dubstep collective LHF. As an American raised in the rural northeast, I'm about as far removed from the continuum as one can be.
Based on rating 8/10
”Tonight you are going to hear music you’ve never heard before!” screams a David Rodigan sample early on in Keepers of the Light. He’s not lying: creators LHF are a group of unidentified producers who take dubstep as a cue and warp it in four directions. Collaborators since they were kids, Amen Ra, No Fixed Abode, Double Helix and Low Density Matter have a combined talent their nicknames can’t describe, mining the world of underground soundsystems and mixing the pieces into George’s Marvelous Medicine.
Opinion: Very Good
Dubstep is dead. That is, in the original sense of the word. What’s left are distant descendants clinging to the same semantic veneer, or else watered down rip-offs trading on an ugly rhetoric of “purity” and “authenticity”. All the more surprising, then, that Blackdown’s Keysound label has just released one of the best dubstep albums in years.
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