Steve Hadfield and Sunbane
Battle Royale EP
TBR: 3rd May
Label boss Steve Hadfield has joined up with the master of mayhem Sunbane to let off a rocket split EP. Battle Royale continues the theme of dystopian society with the soundtrack of experimental and atmospheric electronic sounds. The Disintegration State label is planning a barrage of collaboration releases of which this is the first. Inspired by the film in which school children are shown a video about the horrors of life on the school yard and beyond, preparing people for disaster is the soup of the day.
It begins with a ghastly open sound of echo and reverb. Breath amplified across acres of metallic sheeting gives way to a staggering kick and snare rhythm. Not far behind is a warbling bass line that fuzzes and breaks like a lapping ocean beneath an icy surface. Digital fills and drums combine to wash away the crud from the metallic walls revealing shiny and luminescent surfaces. These reflect our face and distort our image into various nightmarish forms before the lights swing around to show us interesting things in the distance. We walk on through Sunbane's Battle Royale, finding our way through the unusual and almost alien surroundings. Rampant drums and dancing bass-lines work magic with random inclusions of computer noises and failing mechanics.
The next number starts with savage drumming. Broken beats and reverberating undertones loop together to form a Frankenstein rhythm that stands up and starts to walk. Roused from eternal slumber, the maniac waveforms bounce from one side to the other. As they progress and evolve through the timing of the track,they drag with them subtle effects and sound experiments that clutter and clamour secretively behind the main driving pace of the mix. Whistling tones and sub bass growls hand in hand walk through the neat chaos that opens out before us. Serenity by Steve Hadfield starts with a ruckus and gradually rolls out into a smooth and sonically delightful wander.
Steve Hadfield returns on track three, this time reworking the magic of Sunbane's opener, Battle Royale. Distorted vocals crumble together with pounding drums, volume on the echo and the snap brings out a highly treble heavy element that pierces and screams through the joined pieces. Wavelengths bend and warp under their own pressure while repeating elements of emotion and intent attempt to break free from the cacophony. Seriously intense, static sounds and kinetic fills grow in pressure while extra layers continually find their way into the mix. Raising the bar in our head, on the desk, and for the label.
Warm and upbeat party melodics enter for the final number. Catchy drumming compliments the harmonies while soaring pads fill the whole track with air. Bass drops catch the falling particles and inclusions of effect and revs to the synths give sparkle and flow to the melody. Fast paced and evolving with each bar, this Sunbane remix of Serenity makes use of the original and then pushes all the subtleties into the main stage. Turning the track inside out to reveal its inner workings has broken down the starkness and added an element of fun. It's a dynamic shift from one end to the other without moving anything in particular. Life is like that too, sometimes.
You can buy Battle Royale by Steve Hadfield and Sunbane on Bandcamp
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Delta V EP
Insult To Injury Records
TBR: 3rd May
One half of Apollo View, Tom Coveney aka Thomaas Banks, has worked with Insult To Injury before. This time he revisits the new yet already established dance label with companion in sound, Jon-Mark. Together, this duo start by creating bouncing retro-tastic tunes that reach back way into the 90s. The debut record by this pairing from heaven holds two originals plus re-workings by other luminaries in the field.
Snappy catchy drums open IV, the first number on the record. They loop inward, giving rise to a crazy lazer-synth which opens out a whole new world of sound and rhythm. New percussion is layered in before it breaks down again to let a leading melody create a space-age feel in the atmosphere. Spongy bass kicks in, rounding off the edges and giving a lot more depth to the mix. It all culminates, then a gear change brings in piano chords with strings to accompany them. Whistling notes rise into the air giving a skyward sensation before that splodgey bass-line starts again. New layers of rhythm bring new synth tones which add a sense of transparency to the music. Inner workings of machinery and magical happenings are revealed, if only for a moment. Continual evolution and branching out makes the track highly interesting and completely submersive.
Second track II starts on a mangled melody. More dancing drums are added, this time with a far reaching reverb on one of the snares. Astral garden sounds like a koto on the moon breaks open a new melody, reminiscent of Pink Floyd, while a delicious vocal sample rings out with subtle distortion. Robotic industrial rhythms on deep scratchy plates create a submelody underneath, bass line crunches and sonic grabs aplenty. It boils down, gives rise to distant effervescent pads that become a lilly-pad for an extension of the sample. It ends on a progressive throbbing bass which shifts the energy of the piece from one side to another. Full-on dancing energy keeps it punchy and forward facing.
Third up is a remix by Logtoad. Resonant beats swing across wide stereo landscapes which build up with new layers with equally as long arms. Melody in percussion builds an intent from the music that raises the pressure in the halls. This rendition on IV takes the original and throws up all the levels. New sculpted edges to the sound-craft bring on deep chasms of waveform that roar with digital aggression. Heavy bass merges with drum to give a buoyant layering that soon becomes a mattress for airy yet darkly synthesiser pad tones. Frantic drunk piano replaces the scene, it eventually builds in intensity and with the help of great drum loops, chucks the whole track into the next dimension. With equal evolution yet a completely new style of delivery, this track stands out as a successful dance experiment.
Frantic and jagged drums start the final track. A wobbling bass pulsated in the distance while synths and sounds build an atmosphere of intense directions. Broken loops and electronic distortions culminated in a thick and fiery tube of sound. Drums, bass, and effect throw themselves together in a pile and someone kicks it over the goalposts. Another element is gleaned and added as the vocal sample adds a flavour of humanity on the otherwise techno heavy track. Drumming and dub-step like sonics make an exciting edge that really holds on while the roller-coaster of tempo drags us around the circuit. Violet's remix of II is a great underground anthem.
Momentous moves ahead with Apollo View Delta V in the DJ bags of dance instigators the world over.
Get involved with Apollo View on Facebook
Find Insult To Injury on Facebook
and Soundcloud too.
TBR: 1st May
Fusing dub and electronica into a mineral substance, Vesa-Matti Kivioja explores the cultural value of stone. With four expertly crafted tracks, this noise-mason brings to life the traditions and majesty of the Earth's naturally occurring alchemical creations. Some people even use minerals and crystals in magical ceremony, others can be found carrying stones for luck or other forms of enchantment. Superstitions aside, the consensus can agree that naturally formed minerals behave in unique ways, not only physically and chemically but electronically too. Where Einstein meets Jung and the observer dreams of reality, who's to say what kinds of entanglement our distant crystal cousins have on our actuality? Produced in Vaasa, Finland, then mastered in Berlin, Mineral Waves by Vesa-Matti Kivioja takes us on a journey into a consciousness made of stone.
Organic beats with electronic and tribal elements merge together while interesting sounds explore the rhythmic horizon. Twangy strings spell a simple melody in time to one of the drums and atmospheric energy builds in the form of more distant swells of amplitude. Wavellite is slow moving, its epic topography builds depth and colour into glistening polished laminae. Breathy tones begin to wrap the piece in luminescent sheen while the rhythms gradually evolve and shift like striations in the sand. As a whole piece, it opens the EP with a smooth and relaxing energy which is crammed with minimalist intrigue.
For Corundum, sandy textures riddled with electronic blips makes a new perspective for us. Aluminium ore, often a source of rubies and sapphires, has been highly prized for millennia. It's about time someone made a piece of music to celebrate this gemmy rock. Another slow and paced number, droning sounds spin vortices in astral skies while homely synth pads march onward in staggered motions over rocks. Yearning for something, it's as if the track is looking around and scanning sections. Maybe it's that glow of Corundum in amongst the matrix. Gradual reciprocations push the mineral vein deeper, and as nuggets crumble away into buckets, the groove in the ground gets ever deeper.
Something a little more upbeat for the third number. Catchy drums with hand beats and claps among subtle snare create a backdrop of dancing rhythm. Atmospheric and deep resounding crashes of energy radiate from the mines while the regular and motivational percussion section illuminates the ceiling. A labyrinth of tunnels sprawl out underground, each one a destination for someone. The lonely life yet reliant on each other for life itself, digging for valuable minerals like Pyroxene is made into music with this offering to the god of iron.
Finally, Kosmochlor ends the mix with a truly ambient wind-down. Dusty background sounds create a fire-glow sensation which is pierced by resonant tubular taps. These slow moving reverberations in space plunge us into a dreamy doze through gloom and warmth. Simple yet effective, this repetitive meditation helps us to melt away the tension with interesting and easy on the ear sound experiments.
Mineral Waves by Vesa-Matti Kivioja is a wonderful sculpture of sound made to resemble the medium of stone itself.
Music on Ljudverket can be found on Bandcamp
They're also on Facebook
Interested in crystals and minerals? Read this online catalogue of crystal folklore.
Niv Ast & Eliezer
The Untold Story Of Del Fiero
New Day Everyday Records
TBR: 15th May
Jumping into the wave, fully standing on a surfboard of great sounds, comes New Day Everyday Records. This brand new label administered by EP artists Niv Ast and Eliezer, plus Daniel Weil of Silenco and Le Garage, wants to be a home for post-punk techno fusion that sounds as fun as it is to make. Collaborative artists Niv Ast & Eliezer both live in Tel-Aviv, a city fast becoming synonymous with experimental and fresh electronic dance music. The pair have enjoyed a stint of DJ sessions over the past year while on an extensive and party fuelled tour, and this gelling of talent has culminated in this recording of four mixes, each one dripping with their home-brewed style. Joining forces with Daniel Weil, who's based in Paris, this trio of technicians sets the tone with The Untold Story of Del Fiero.
With a chunky bass-line and bouncy kick drum, the first track begins the record. Blippy tones add yet another layer of movable bass to the flow, filling the groove with a delicious liquid. Then, rolls of percussion unravel across the whole, building pressure and atmosphere with each bar. Extra effects work their way in, vocal like expressions and repeating phrases of quick drumming merge with the continuous bassline snaking around in its binary melody. Martians In Pluto is perhaps suggesting feeling alien in a new layer of alienation that makes everything doubly as confusing. Life is dualistic after-all, and this track takes this to artistic levels with suggestions of heavy melody hammered into panicky beats.
La Passioneta (Ft. Adrien Albou) starts with a tubular rhythm, full of mechani-digital movement. Springy levers and sliding armatures click-clack in a rotating rhythm while gentle beats bring a boiling fusion to the top. This gives way to catchy guitars and grabby rock drums which quicly grow to incorporate rock music just as much as dance. A sampled beat and guitar riff with a layer of distorted melody gives this track a whole new direction. Coarse vocals begin to whisper loudly over the cut before a trancey synthesiser begins to cast progressive tones into each rhythmic bar. This number has progression and it has attitude, the best of both worlds entirely.
Digi-bass opens track three. Simple steps of rhythmic twang begin the motion, soon to be joined by an equally as minimal bass drum. Spongy synthesiser tones play a bassline melody which wanders and meanders around the slow moving kinesis. Then, a distinct drone cuts through the staggered timings to draw a thread of deep colour through the ambience. New drums play talkative rhythms across the edges of the piece, various drums and items present unique tones and shapes as they're struck by the right moment. The slow and dreamy Sneg likes to take its time. Gradual increases in layering build a poetic and deep sculpture of sound and intention.
A catchy dancing beat starts for the finale number. Tmuna Memusgeret (Ft. Uriah Klapter) starts on another minimal techno inspired rhythm with light housey drums matched with dropping bass lines and deep tones. Synth stabs rhythmically dig a new layer in the hole which airy melodies fritter themselves away in the entropic sunlight. Mechanical engine sounds crawl over and their roadway comes close, dropping off new elements and atmosphere in the music. More vocal samples, with distorted phonics, swaddle the driving beats and with each new bar, additions to the mix in effect and amplitude increase the over-all intensity. Another dance-hall offering, it's really interesting at the same time.
Get on the New Day Everyday train with Bandcamp
follow them on Facebook
You can find Niv Ast on Facebook
And also Eliezer is on Facebook
and Soundcloud too.
Tombstone Trance Volume 1
TBR: 3rd May
Opening the Tombstone Trance series for Stabudown Recordings comes a swathe of material from their plastic arts hub. Mixed to flow perpetually, sectioned into easy to appreciate chapters, and wrapped in a day-glow cover, this rundown of ruckus productions looks almost as good as it sounds. But what does it taste like? There's only one way to find out. Each of these offerings is brand new and unreleased, making this a sampler that goes all out to reel in the fantastic plastic people. Are they pointing at you?
It begins on a warbling oscillation that revs up the stereo with a repeating phrase that garbles down into mayhem. This is just the opener, and allows for the first track to sweep in on wings of gold. Fanciful synths play a broken melody strapped with subtle harmonies. These shift gear into a more digital range, their manicured bleeps and blips creating the same sound although somewhere else in the room with different acoustics. The melody evolves to become jagged and raunchy, while rhythmic loops mash the effects into a homogeneous substance. Once more, the beats break the music down into smaller parts. These jittering fractions of music roll into each other with 8-bit waveform acting as glue before beginning to shine with more sunny synthesiser tones. Sponge Effect by Piezo does indeed make use of squashy undercurrents of sonic squelch.
Next up is Scrappy Industrious F U by C.L.A.W.S. It starts with rolling notes that climb abstract boulders while the hillside sweeps away below in regularly paced kick drum sections. New percussion adds a thundering energy to the already beat rich composition. Bass throbs keep the movement in the air while grounding thuds pin it all down again. A subtle melody catches the wind and begins to fly in the flurry of drums and bass. Fills in the percussion add yet more layers of story to the driving force behind this track. Then subtle horns in distant avenues blare into the rain thick sky before yet more drums give a crunchy crumble to what is a high energy dancer.
Even more beats are unravelled with hyper snares that stutter in spitting balls of fire. At the heart of these furious flurries are deep and gut pounding bass drums that bring a wooden depth to the whole piece. Digital bass wobbles along in motorway sections of high speed freight while the high energy smaller beats fly past in neatly managed quanta. Goshun by TML is a hard dancing push forward, expertly built up from the more tranquil atmosphere of the first number via the slightly more up-key second. Industrial mechanics whir and clunk while sparks of percussion spin off into dark and gloomy spaces. These are where the breathing sounds of heavy machinery come to life.
Below Andromeda by Koehler starts with silence. This is prized open by a claw of housey drums which smoothly flatten out the texture. New pressures are found in a snappy drum that throws an oddly timed bar into the mix, rewriting the rules of the dance as it goes. Whirling winds from far off forests catch the breeze and are carried to our field, where the drumming mixes with nature, some magical effect takes place. Luminous blips of light form in the space between us and gently float like balloons into the nightness above. Like dancing faeries in bonfire up-drafts, the gentle drifts of sound climb as the currents of music warm their ethereal bodies.
Dirty reverberating bass mixes with an alarming melodic climb into abstract realms for the next one. Electro drums stab in rapidly firing projections of sound while the siren like tones swivel on their axes. A human voice crunches down with a maniac holler before the bass is let loose to snake its way through the loops of drum. Squeaky rhythms line the top like blades of wet grass plucked and stretched across mouse holes. More voices begin to express negative words while the music pushes onwards. The gloom and darkly nuance raises an energy within that stops caring. Kerridge with Death Is Upon Us brings us this live version.
Long Bastard brings us Send for the next track. A swelling sub-bass tone drifts in on heavy wheels before a fast paced in your face industrial snare and hat makes a punchy journey towards us. Slow vocals speak in poetic phraseology in spurts over the top, the distortion and reverb on the voice gives an empty room feel to the whole. Digital tones leap from high places into the abyss in gentle solitude while the musing continues. Formations of images around life and love briskly push their way to the front to take a snap-shot before reclining for others to break their silence.
A gentle fusion of static and tone comes next. It builds like a gradual lock on a canal of barges, each laden with rhythmic cargo. Head moving bass drops down while drums start to smash in the air. New elements of percussion break forward, pushing waves of slurry up and out as they go. The foundry of sonics brings with it all manner of related happenings. The machinery creeps on, as daylight breaks the colourful long-ships gracefully chunter into horizons of musical oblivion. Occasionally, a stand out vessel enters the scene and with flower pots and flags, causes the rest to raise their heads and their game. Bad Tracking by Arnos Veil is an industrial and grimy pit of sonics that just keep dancing.
Prostitutes is next with Destiny Rush. Subtle drumming starts it off with a sleek tone like an engaged telephone in the distance. More melody and rhythm builds in, gentle and sensitive, shakers and metallic rattles sculpt a rolling landscape of sound. Hand claps and snare drum finally make an entrance, with squelchy bass that blobs into existence and out again, a strange vocal sample rhythmically adds an alien phonic. Keyboard riffs jiggle on small scales with quiet confidence as the slow and heady rhythm keeps everything grounded.
Digital rain and muddy footsteps build up from the quiet left behind. The echo in the mix is barely noticeable but it gives an open space feeling to the delivery. Drums and metal percussives add sprinkles of regulation while the organic and gentle lawns of controlled chaos span out. Wooden taps and dustbin lids add to the well adjusted beat, wobbly semi-melodies try to find a neat fit in the gardener's trousers before they realise they meant the pub. Now all cosily sitting around the fire with a wooden table for company, the mix unveils a comfortable and slidey synth and house ambience. New Happy Fortune by East Side Ancients takes us away from the mayhem of before.
We're reminded of the Grey People with Morning Etiquette for the new number. Quiet and distant mechanials and trains run gently along a slowly approaching path. The rhythmic clatter of carriages and gears reveals a ghostly human scene in which we know there must be souls behind the windows, each thinking and feeling in their own way. Do they know we are here, watching them hurtle past from our shaded window? Another track bursts into life, this time it's much closer and we can see the lights inside illuminating the vague aspects of faces, each one slightly different. They're all going to the same place.
A whining drone dashed with starlight streaks across the silent night sky to reveal what comes after. Its tranquillity and sombre entrance is studded with a heartbeat like drum pattern which is neatly packaged in the back of the cupboard. New amplitudes are rolled into the pastry and it gives the stellar elements a new glare which appears to be due to us drawing closer. They swoop around our head in bright and dancing twinkles as we spiral through cosmic seas of sound texture. Organic Dial with Absolute Other is a soft and gentle push through a weightless sea of lamps.
Glitter Flux by Powell takes over with android like beeps and chatter. Motions made of pullies and gears on armatures and wheels bring about a slow position that allows more music to hang from the branches. Sonic jingles and a vocal song are thrown over like randomly falling sheets which cast shadows on the plain and well lit back wall. As the machines struggle to keep pace with this slow breathing number, their parts begin to protest with cries for sustaining oil. Now running on the rims, some of the units merely are for show leaving empty gaps in the projection of intent.
This coils up and makes way for the next track. Heavenly tones from a crystalline synthesiser ramble on in a dreamy passage of time. The melody evolves and brings on harmonies that help to unify particular phrases. As the musical box like journey of sound changes and drops down into a deep trance-like sleep, new sounds come forward to project yet another image. No Peep Show Here by Vanity Productions splices many sonic experiments and attempted directions together in random happiness that seem to merge into one daydream inspired joust through fleet-footed feelings. It then opens out into a tranquil meadow of glistening colour and warm gentle winds. As the scene envelopes us, it's easy to forget about everything else.
Ending on Death By Misadventure by The Rancor Index, a shimmering digital light emerges from the dreamy left-behinds. This is strapped to a kick drum and snare, both of these have been thrown into a digital echo effect that give rise to spangled throws of percussion. Slow and eerie, the track builds up piece by piece into a wave of synthetic sounds and rhythm. It's a neat way to end the record, with party elements that drag us into high gear and long droning sections of rhythmic and non-rhythmic composition that break the rules while sounding good anyway.
Get in touch with Stabudown Recordings on Facebook
and Stabudown Recordings on Soundcloud
Share in the taste of Vahdam Teas! Grown in India, Delivered to your door.
Noise Manifesto Records
TBR: 12th April
As we all wait with whited knuckles for the far-too-long-awaited Paula Temple debut album, we're given another brief teaser with a new single. Raging Earth is all about climate change and the societal frustration at those who continue to plunge the Earth into human induced re-climatisation. Don't they care that thousands of large settlements are situated on coastal areas, or that wildlife has adapted perfectly to the way things are today and can only adapt over gradual changes? It will take thousands if not millions of years for the ecosphere to re-diversify if we lose any fraction of life caused by our own actions. Do the immediate needs of the world's wealthiest and developing countries warrant such recklessness? This track and its equivalent B-side is getting in your face and demanding you think about it.
It begins on a sinister synthesiser tone that grows in amplitude over the progression of a few bars. Waves of sonic sea course in the background, again building in volume to match their companion tones. Then, a dancing beat cuts through the fanfare to bring a party atmosphere to the moving sounds. More rhythms are layered in, and at an appropriate moment, those creepy synthesiser sounds swell back into the mix. These make way for more ambient sonics and patterns of synthetic melody while pounding beats resonate through the whole piece. Frantic, arms in the air dancing is the obvious choice for this track made by an authentic re-mixer of The Prodigy (signed stuff).
The B-side, Raging Noise, is exactly that. It begins on heavily distorted synthesiser tones that break like quarried rocks into bitty and synthetic noise. Crumbling facias of sound lean forwards in stereo vision while amplitudes swell and merge both worlds together. Wavering and desperate, the sounds continue on, making seemingly little progress through the mush of broken down wavelengths. Subtle shifts in tonality and direction of sonic flow bring about new corridors and directions for the sludgy river of black noise to creep down. It's a ghastly scene, one artistic piece of music, and perhaps a really important message.
Find out more about Paula Temple on her website
Follow Paula Temple on Facebook
Black Gardenia Vol. 1
TBR: 16th May
Opening the Black Gardenia series for Jazz-O-Tech, Beat Movement produce a quad of tracks each influenced by the roots of techno. Making sure that jazz and beats get the showcasing they deserve in this modern musical age is what the label is all about. Utilising great talent from jazz circles in collaboration with their electronic sounds, Beat Movement draw on themes and styles that project class and energy. By giving space to live performers and bringing jazz influences in through their rhythms and sounds, Beat Movement encourage innovative sound experimentation. This Berlin outfit sent the masters over to Rome for the final mix-down, and this release is limited to 300 vinyl pressings.
The first track is Silent Rain, featuring Giani Mimmo. This Italian saxophone player brings a unique vibrancy to a subtle crackle of rhythmic static. Electronic wails and mechanical squeals glisten over the surface while the pitter-patter of synthetic rain plops and sprinkles around us. Melody on the saxophone jumps and plays around in the puddly park while ambient sonic fare whistles and swirls above our heads. The build-up is slow, a gradual evolution in the pressure of the sound gives rise to an approaching torrent waiting to happen. Broken effects spill a sudden burst of attempted tone through the dark, deep bass drums resound in the gloom and a sensation of still holds off the wind. The melody continues, like passing cars on sodden roads the beams of light flash by with a Dopplering clarity.
The next track ties a thread to the last and then shifts direction to a more heavy beat. Thumping bass resonates in empty rooms while more melodious phrases soar like hillside horns. Aphex Twin Shot My Neck is an unusual track title, is it a mark of respect to this classic group? Distorted waverings of sound wallow across muddy plains of pounding bass. Clickings and taps fill the sides, wrapping the deeper kick in an echoic landscape. Distortions and subtle shifts in tonal direction make way for abstract and hypnotic wanderings.
Techno superstar Sunil Sharpe takes the reins for the third offering. Remixing Silent Rain for us, the track is brought back to life with a pounding animalistic heart. Heavy beats penetrate the original with storm like surge. Melodic rhythm and phrases of sound combine with the raining landscape to give us a fun and invigorating party. Tweaks on almost every level, the track is given a new dress sense. Hard-hitting fills of various drum sound compete with fantastic flurries of saxophone. This B-side version of the opening track sets a much more energetic tone to the record.
Finally, a siren of sound shines over the whole sky. Fast-paced rhythms join in with more saxophone. An alert feeling washes over us, manic drumming kicks in to bring a boiling sensation to the mix. More melody, jazzical and sporadic, bounces from side to side. Untitled Reconstruction features a jazz quartet called Gamapawa. The band sound of drums and wind combine with frantic electronic dance beats. The whole serving offers us a wake up call to draw us out of the initial dreamy mesmorisation.
Get in touch with Beat Movement on Soundcloud
Also discover Jazz-O-Tech Records on Soundcloud
Are you Jazz enough? Learn Jazz Theory online!
Life And Death Records
TBR: 26th April
Now living in Berlin, this Israeli born sound architect returns for his Life And Death label debut. This established and well-loved electronic music label from the prolific DJ Tennis feels like the perfect home for this club-ready serving of four uniquely blended tracks. Choosing to put out material on this label despite running his own, namely Disco Halal whose releases have featured on The Electro Review in the past too, demonstrates an ability to reach out and collaborate plus produce quality music others are eager to sign. Showcasing a range of musical ability with each track, Wave Rave utilises many great techniques and sounds.
The opener is Wave Rave itself. It begins with a frantic digital beat. The staggered element winds a spring, building sonic tension. New percussion sounds join in, this time with a much more solid pattern that lays over the top like a blanket. Synth chords fill the spaces, they drone in and out on one pitch then return with a trance inspired melody. Stabbing notes dance in the air, producing a great sensation of movement we would gladly mirror in the club. Pushy beats over-do the entry rhythm, a steady 4/4 pace breaks free to encapsulate the uplifting composition. Melody in the bass and treble areas work in harmony yet with distinctly different walks. Their steps seem to reflect each other's attitude by forming dynamic runs of intention.
Next is a funky hat and kick drum beat that starts with a catchy tempo. Bass sponges throb in time to the off-beat, glooping their tones over the drum-work like brandy-butter. The drums speed up, revving the energy into a new realm of force. Then, some digital droning buzzsaw sounds begin to worm in through the woodwork. The furiosity of the piece swells as the various sections join in to create one surging river of sound. Distorted warbles of electronic feedback curve around giant pillars like serpentine beams of conscious light. They then drown all out in the sonic glare providing a light and bright space to create a new image. This is where the track evolves from one form to another. In the second dimension of the mix various rhythms seep from the tightly woven cloth like curds and whey, dripping sections and clumped beats working in harmony to create a free flowing volcanic dance injection. Dinner For One is a scene I am more than familiar with, and I like the track the scenario is named after.
550 comes in for track number three. Blipping beats jump in melodic frenzy while plucky bass and drum back up the rear. A surging forward motion overtakes the opening phrases by bringing everything to the forefront. Deep and sensual drums reverberate in the distance while digital fills and harmonic runs jostle in tight spaces. A great melody shines over the top, drawing on sounds more familiar with pop music but mixing them in with manic dancing beats, the track reaches out to a crowd and says this is it. Guitar is used, an organic instrument in an electronic track needs to be done really well and this time, it is. Various colours and directions shine through as the amplitudes of each rise and fall. Elements of compositional clarity and rhythmic progression work from each other's energy.
Finishing with a sleek and heady drum and bass line, a space-age worming synth casts a brilliant anti-shadow over the whole. The drums and bass-line continue, new synth sounds bleep like orbiting satellites. Digital runs of melody flow in and out like a tidal river, the steady dancing pulse remaining constant through-out. Amplitude hits the bass and it spews out to the sides with extra tone. Hand-claps now, again, their energy directed solidly towards the whole, a forward facing push through astronomical surroundings is describes for us. It's fun and futuristic, although the choices of sounds reflect the retro-years. Classic science fiction takes the lead while the twenty-first century musical production pushes everything to new levels of technological freedom.
It's a wide reaching EP made up of great techno sounds, fabulous house directions, and awesome EDM sensations. One for the club or the living-room get-together, no matter where it is, it'll provide impetus to mental and physical motivation.
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