A new LP drop from NCHX (aka NOCHEXXX aka CHXFX aka Dave Henson) this week brings further proof to my working theory that some of the year’s best workings always come in the final month. Delivering on the Nochexxx ethos of masterfully constructed experimental bashings, B·O·M gives us a full-length release of thoughtfully placed influences of techno, rave, acid-house and even analogue explorations that we’ve come to associate with the CHXFX catalogue.
Much like the man behind its creation the album doesn’t stay still. And at six tracks in length (previews below) it’s a 
pleasure to take the journey as a whole or to dip in and out. And while previous LPs (which we’ve loved) focus on a full-story line and concepts, B·O·M takes on its own life without the necessity of a single-mind space.
The best example of Henson taking his unique round style and programming it into a square hole is a joint called ‘Cyber Tush’ on the B-side. Beginning with a call and response of analogue tools it evolves into a fully-fledged electronic conversation. It’s a thing of beauty. The record then deftly flows on to rave tools and deep-raw house that may be blessed at the church of Hieroglyphic Being.
Released on Plastic Horse it’s the studio’s first venture into releasing records but not it’s first into the world of Nochexxx music. The studio seems to have been responsible for some of our favourite graphic outings with Henson including the art and videos associated with Thrusters and the awesome day-of-the-dead inspired Charro.
The record officially drops the 8th meaning it should start appearing on shelves this weekend. Currently available to pre-order from all the usual online places as well as Plastic Horse direct, which we heartily endorse doing.
Check the tracks below, press release under that again and then keep scrolling for some iconic skating.
Departing with a tube station screech, HUNTING HIDES signals a lone defender’s ride through the underground – trace amounts of musique concrete dart around the tunnel walls, while sub-low cushions the rumble.
ENTERCOL is perfect 3am mix fodder; saturation hot-points push beneath a middle eastern theme, whilst SEVENTH GUN TERRITORY is pure rapid-fire bongo bizness – a concrete terrain punctuated with corrugated metal grids and moving shadows: distorted poly-metered brutalism! CYBERTUSH is the perfect OST to a club littered with vape pens, while B-Boi bots flirt with promiscuous A.I.
Arguably the most fierce cut is TEFLONTUAN – an ode to NCHX’s favourite pro Antwuan Dixon – the Deathwish skater lands bolts with the illest of steeze. Side-chained 303 squelch rattles alongside x0x sequenced drums as wavetable pads float above kinked rails. A nights gallop over city curbs. The LP signs off with LOCATION SCOUT, a SpaceX sample-return mission heading back to earth with a fistful of deep house red planet crumble.
On a personal note, since I first discovered it I’ve always felt some sort of affinity to Henson’s music. The time he published a legal letter telling him to change his artist name, the insane videos, the gold cassettes and the record he did to help save a skate space are all actions of an artist I can get behind. There’s something about his work that I’ve always been drawn to no matter what rabbit-hole genre I’m in the process of chasing.
This was locked away again when I saw Antwuan Dixon getting a shoutout in the above press release for B·O·M. For those that don’t know Dixon’s story can be considered tragic if not entirely unprecedented. One of the most naturally stylistically blessed skaters who lost almost a decade of his career to legal problems stemming from addiction and violence and including time in prison.
He’s back with new sponsors and new spots in 2019 though, sober and skating well.
And while there is new footage you can find online I wanted to share this part from Baker 3 in 2005. This was the first time a lot of us saw him back when you still picked up the DVDs. The man’s style is ridiculous, watch the arms.