The Paranoid Foundation label present their fifteenth official release: Paranoid Motives 2 - the follow-up to Paranoid Motives’ ‘disruptive potential’ (2010). It is a collaborative work by a non-gigging studio entity, fronted by Cris Lee.
After a long silence – at least by his usual standards, Cris Lee returns with an album that differs somewhat to the many that he has recorded before. Cris has been extremely prolific over the past decade, both with the main Paranoid Foundation project and the many splinter acts, such as City Paranoid, Paranoid 404 and indeed, Paranoid Motives. All fourteen of the label’s previous releases have had a major input by Cris, if not made up of entirely his own work – each furiously and intuitively assembled over a surprisingly short time-scale of perhaps just a few weeks.
Paranoid Motives 2, however, breaks with tradition. The fourteen tracks were worked-up over the space of three years. Taking the drums and percussion of collaborator Rory Kettles and adding layers of guitar, bass, spoken-word vocals and numerous additional sound sources, Cris took his time processing the various instrument tracks, carefully building-up layers of ambience to produce what may well be his deepest and most compelling work yet. The two tracks featuring the piano of Ferhun Kahraman (A Few Moments Adrift and Something I Believed In) are a particular highlight, perfectly showcasing his ability to craft dark, foreboding and yet somehow beautifully melancholic atmospheres.
Influences are fairly difficult to ascertain, but perhaps echoes of 1970’s Avant-Garde, UK post-punk and 90’s post-rock are apparent, along with the more contemporary electronica and dark ambient music of today. Those who enjoy the rather intense work of Joy Division, Nico, late-era Talk Talk and Coil might well find solace here.
From the Press Archive:
“At the same time that it is dark and moody, Threads is also an intriguing and entirely listenable experience that thrives on the stark, cold sense of looming dread and lurking trepidation that refrains from alienating those tuning in” – Glasswerk UK
“A rolling menace undercut with just a touch of spacerock bleep and fuzz” – The Organ