More about: Lomond Campbell

When Scottish musical inventor Lomond Campbell first released LŪP—his third long-playing collection—back in 2020, it was met with excitement by the few who knew of it (an audience that, though perhaps not sizeable, proved sufficiently enthusiastic to buy-up the album's original run of cassette tapes in a matter of hours) and, hearing the album now that UK indie favourites One Little Independent have brought it to wide attention with their widely-distributed reissue, it isn't hard to see why.

A collection of atmospheric instrumentals, one might be forgiven for assuming that the collection has been composed by means of the same analogue synthesisers that would surely have informed the likes of Kraftwerk and Tangerine Dream half a century beforehand. 

But no; LŪP is in fact so-named in honour of the very instrument that crafted the ten eerie instrumentals which comprise Campbell's latest outing. An instrument of his own creation, LŪP is designed to loop tape in what its inventor describes as a "machine to embody the compositional ideas of the two esteemed New York avant-garde composers, William Basinski and Steve Reich." Reflective of that intention, the LŪP album of the same name is trance-inducingly repetitious, with many of its compositions locking into grooves that show no sign of abating. If perhaps something of an acquired taste, the resultant pieces are nevertheless distinctive enough to establish their author as a unique voice in his field.  

Pressed to a mid-weight slab of classic black wax, One Little Independent's vinyl edition of LŪP has been manufactured by Germany's ever-popular Optimal Media. We've noted in the past that, perhaps as a result of the strenuous demands placed upon them as a result of their status as one of the most popular pressing plants in the world, Optimal Media's output can at times display the hallmarks of a rushed job. We certainly wouldn't go that far in the case of this release; by and large, our example sounds excellent, with low noise floors reflective of tidy surfaces mostly absent of any audible surface noise. But we did pick up on a few crackles towards the start of side A; not enough to detract from the listening experience, but perhaps a few more than we would ideally have liked.

Nevertheless, this is a great sounding record overall; the album's mastering lends the LŪP instrument all the presence and impact it could possibly need, a fact that hardly seems surprising when one realises that it was mastered at the legendary Abbey Road Studios. Further to that, the record itself sits flat on the platter during playback, being free of the warpage and other visible imperfections that can too often appear on batches of vinyl from pressing plants whose limits are being stretched. The packaging and presentation is also excellent; the striking minimalism of the album's art direction is well-served by its cover, which—though only manufactured from standard-weight cardstock—boasts rich colours and an appealing textured finish. On top of that, a printed paper inner sleeve is also included, offering credits and liner notes on one side in addition to further minimalistic art on the other.

LŪP is a work of genuine innovation and, reflective of that, One Little Independent have evidently put a lot of care into their vinyl release of the album. Though an undeniably niche release, it's also an album whose ten atmospheric compositions seem likely to strike a resonant chord with those who harbour an abiding love of eerie electronics and ambient soundscapes.

BUY LŪP ON VINYL.

More about: Lomond Campbell