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Oversized card wallet with a printed inner to replicate the vinyl version
“Style wise, it’s incredibly different, going back to thinking about guitars and
guitar sounds. Obviously you have to take into consideration things like percussive
elements such as drums, which I haven’t been using in my other projects; but this is
the mind set that makes up Loop.”
So says Robert Hampson, the indefatigable visionary behind inspirational
sonic architects Loop, whose eagerly anticipated fourth LP Sonancy (Latin for “to
create noise”) is the perfect document for these strange times. Dynamic, dystopian,
righteously angry and unashamedly Loop-ian, it’s an album that marks a vital re-
emergence for Hampson and co.
Formed in South London in the mid-1980s, Loop blazed a trail with their
potent mix of motorik beats and heavy guitar riffs, recording a trio of brilliant albums
that set the indie charts alight before imploding in 1990 after the release of album
number three, A Gilded Eternity. As critics enthused at the time, Loop were the
sound of Suicide jamming with the Stooges aboard a spaceship built by Hawkwind
and piloted by CAN. They were post-psychedelic, pre-shoegaze figureheads in a
world of anodyne pop jangle and baggy rhythms, and even their closest
contemporaries like Spacemen 3 and My Bloody Valentine didn’t plough such a
distinctive furrow as theirs.