While Michael Morley and Danny Butt's work together as Tanaka-Nixon Meeting had started out more as minimal avant-garde rock, by the time of Twelve Inches Heaven, Morley's fascination with glitch-core and techno in general meant a newer focus; one that comes across beautifully on this appropriately-titled vinyl-only release. The four untitled tracks on the album aren't the bleeding edge of dance per se, but as conceptual pieces -- and often dramatic compositions -- they find a combination somewhere between the Third Eye Foundation, Porter Ricks, and Panacea. Nervous, constantly changing percussion hits and fills, following the drum and bass template but often messed with further and mixed with doom-laden, rhythmic bass stabs and shimmering, glittering textures on the first track. The second track starts off calmly enough in comparison -- it could almost be the world's gentlest Steve Reich string loop -- but with the introduction of a machine-gun rattling array of beats, things wing off into Aphex Twin territory; not a bad place to be. On the second side, the first track takes the most minimal and low-key approach yet, a slow beat and quietly nagging scrape of looped feedback (or something similar) setting the pace and then keeping it for the song's length as an ebbing, then flowing, electronic meditation. The final song takes things to an even calmer level. Flanged guitars and deep, low rhythm crawls (especially reminiscent of Matt Elliott's work at this point) mix with other psychedelic and twisted touches to create an appropriately shadowy but enthralling blend of ambient sound and involved arrangements.
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