NOW ON BANDCAMP 50+ Exclusive Tracks on the Electronic Explorations Compilation

The idea behind this mix was to try to capture the essence of ”Born to Ruin.” Usually when we compose we are always using images and moodboards to get our ideas flowing and to somehow start the internal process. For us this has been a crucial tool in our creativity.  This mix we feel can seen as a sonic moodboard for ”Born to Ruin ”  if we didnt´ write the music ourselves…” ~ Peder Mannerfelt & Malcolm Pardon

Roll The Dice’s Born To Ruin (released 26th May) opens with the electrifying synthetic rhythms and sax of ‘The Derailed’. What’s immediately striking is its directness: it’s brash, metallic and punkish, an appropriate opener for Peder Mannerfelt and Malcolm Pardon’s fourth collaborative album. Compared to the epic, sweeping compositions of the duo’s earlier records, the music on Born To Ruin is stripped to the bone — a collection of concise, sharply evocative, jazz-infused music that’s more smoky basement than orchestral hall. Following the stately orchestral explorations of 2014’s Until Silence, the music here is lithe, hollow and furious, evoking a fractured world of economic and political instability.

Opener ‘Road To Derailment’, ‘Inward Spiral’ and ‘Bright Lights, Dark Heart’ are stark and mercurial, driven by a newfound sense of funk that draws equally on Charles Mingus and The Birthday Party, Surgeon and The Cramps. The saxophones of ‘Cannonball’, square off against the jagged pulse of Mannerfelt’s electronics, while on ‘Locked Hands’ maniacal pianos send whirls of colour through the mix. These harsh, politically-charged pieces are among the duo’s most thrilling music to date.

Yet even among the anxiety you still sense the same feeling of hope that’s been constant throughout Roll The Dice’s music. Early on, the desolate lament of ‘Under The Arches’ blossoms into a gorgeous, sun-warmed desert vista, and later the album’s second side voyages further into contemplative spaces: the eerie cybernetic lullaby of ‘Coffin & Nails’, the metallic sax drones of ’Potters Field’ and haunted closer ‘Broken In Time’. Do these complex, melancholy pieces really represent the possibility of future redemption, or are they more of a temporary inward retreat from the violence of the world? Like Born To Ruin as a whole, these more sheltered musical zones are all the more powerful for their ambiguity — the promise that much more of this story is yet to unfold.



  1. Roll The Dice - 470 - Electronic Explorations
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  3. 01 Miles Davis - Concierto de Aranjuez (Adagio)
  4. 02 I-LP-O IN DUB - Paradise Capital
  5. 03 Colin Stetson - Spindrift
  6. 04 The Five Blind Boys of Alabama - Our Father
  7. 05 Mumdance and Logos - Cafe del Mar
  8. 06 Tom Waits - Midtown
  9. 07 Herbert - Moving Like a Train (Smith 'n' Hack Remix)
  10. 08 Bill Orcutt & Jacob Felix Heule - This Song Is Called Reify
  11. 09 Arrington De Dionyso - AION (Intuition and Science)
  12. 10 Mantronix - We Control the Dice
  13. 11 Cedric Im Brooks & The Light of Saba - Collie Version
  14. 12 Alice Coltrane - Yamuna Tira Vihari
  15. 13 Terry Riley - Concerto for Two Pianos and Five Tape Recorders
  16. 14 The Sonics - Have Love Will Travel
  17. 15 MJ Cole & AJ Tracey - The Rumble
  18. 16 Henry Hall & His Orchestra - The Teddy Bear's Picnic
  19. 17 Mika Vainio & Joachim Nordwall - Irkutsk
  20. 18 Theo Parrish - Dance Of The Drunken Drums
  21. 19 Arthur Russell - Hiding Your Present From You
  22. 20 Moondog - Up Broadway
  23. 21 David Sylvian - Let the Happiness In