Cowbells clatter in the distance. A synth note shimmers into existence and dissipates like a mirage. A clarinet calls out, uncertain, over an undulating landscape of field samples. The reedy cry grows more assured, briefly commanding all else to silence, before being rejoined by a delicate topography of found sound. As the bells jangle their last, as if the herd is cresting a hill, we hear a voice, like a shepherd urging them on in a secret language he reserves for his beasts.
This is Blue Dot, the lead track of JR Seaton’s new EP for Trilogy Tapes as Ondo Fudd. Many will know him better as Call Super, and Seaton has left the distinction between the two names up for interpretation. Since he broke out in 2013, Seaton’s music hasn’t just got better, it’s also become increasingly organic.
His songs feel like living creatures, their drums rich and textured, their melodies evolving biologically, their samples arranged geographically. Seaton’s dedication to a more natural music is evident in the primacy of this EP’s beatless track – up front and centre, rather than relegated to the B2. It echoes the mood sketches of his debut album Suzi Ecto but calmer, more bewitching.
The Fludd brings these qualities to the club, mesmerising atmospherics applied to a rich, earthy drum pattern. Structurally it resembles a mutating swamp creature – one moment draped in jungle ornaments and synthetic birdsong, the next racing ahead as sleek, humid techno. It’s a stunning piece of sound design, made all the more impressive by its curious catchiness and clear dancefloor potential.
Veto Plank returns to muggy climes, its nimble rhythm cloaked in whispering, heat-haze synths and an organ line that glitters like teeth. Seaton has here conjured dance music of a rare tactility. It’s probably the best music that he’s put his name to so far, and that’s a mighty tall order.