Too Many Voices
| Too Many Voices | ||||
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| Studio album by Andy Stott | ||||
| Released | 22 April 2016 | |||
| Recorded | March 2015– March 2016 | |||
| Studio | Stott's basement studio in Manchester | |||
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| Length | 46:18 | |||
| Label | Modern Love | |||
| Producer | Andy Stott | |||
| Andy Stott chronology | ||||
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| Singles from Too Many Voices | ||||
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Too Many Voices is the fourth studio album by English experimental techno producer Andy Stott, released on 22 April 2016 under Modern Love Records. The album involved Stott intending to create grime-influenced tracks, so much of the LP's sound palette is used from the Korg Triton, a workstation keyboard distinctively used in early grime instrumentals. Too Many Voices follows Faith in Strangers (2014) in terms of the dark and abrasive style of his discography first present on his EP Passed Me By (2011); however, it adds a much cleaner, more spacious, and what some reviewers labelled as an "airier" element to that sound, which caused the LP to garner more criticism from reviewers than his previous albums did, though critical reception was still very favorable. The album peaked at number 11 on the American Billboard Dance/Electronic Albums chart.
Stott produced Too Many Voices at the basement of his home in Manchester for a year from March 2015 to March 2016. Due to Stott's goal of making a grime-influenced LP, most of Too Many Voices consists of sounds from a Korg Triton synthesizer that were also used in the grime works of acts such as DJ Slimzee, Dizzee Rascal, and Wiley. While he originally bought the Triton to give the album a grime style, he later got into the keyboard's other non-grime-related presets, including ethereal, sometimes choir-based pads: "It's kind of made me play in a different way, really. Just the sound of it, the machine, is really strange... Keeping space in the record was really a conscious thing. I really wanted to put more space in there." These textures are also on the record given that Stott enjoyed sounds that tried to be organic but were actually fake. With this in mind, Stott presented the humanity of the otherwise synthetic sounds through his disruptive and surreal use of the Triton's pitch bending feature.
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