Out 20th November
Deniro emerged in 2017 with the Mendoza EP and now he's back with a selection of live cuts. Taking time away from heading up Tape Records, Deniro heads over to трип in order to find some space in which to express his other talents. This EP is named after the festival of the same name in which трип Records owner Nina Kraviz introduced her audience to his body moving sounds. Techno and groove line the walls of this release, providing the very best of this artist's atmosphere.
It opens with rumbling bass and frantic blips that spurt in formulations designed to make us alert. Harmonising synths strike long-distance quick runs over hillocks and dales. Thumping bass persistently stitches the scattered tones together. Coachella being the title-track hits us with heady techno rhythms that dig out sections in the room before glooping into them. As we become nestled in the array of bass, a hat begins a simple tempo which once more lifts us up and adds extra impetus. More cymbals then smash through, quicker and vibrant, loose jangles lift further onward.
Egalize begins with a chiming harmony with juicy synthesiser bells. A vibrant underscore of rampant drumming gives a bouncy bop sensation to the bubbling mixture of upper tones. Extra layers gradually find their in as new notes and reaches gently and innocently add to the repeating melody. A cymbal joins in, for brief moments, as the progression lifts in spinning and swaying scales.
Next, a twisting scratchy rhythm smashes down next to metallic thumping sounds which resonate at various frequencies. Odd synthesiser distortions call out like strange birds as mechanical and atmospheric changes create a uniform rhythmic churning. Rubbery resistance creates friction that eventually bursts into a fire of drumming. Bass, snare, and cymbals belt out a simple yet effective rummage through the flow. Hard-hitting focus brings Needles to a tipping-point that thrusts the mood into another level.
Tainted starts with a happy sounding bass that swoops like a glider on currents of jungle air. Sticks of bass and cymbal jut from the bars in neat and uniform gestures as sunny synthesiser harmonises underneath. Bubbling sounds present as new elements of percussion are inserted. A laid-back yet full-on dance sensation washes over us as the melody glistens like oil on the hard rhythmic surface.
A quick and funky bass with snappy drums enters. It grabs us by the collar and forces us to dance. Synthetic notes playfully jog on simple scales as rhythmic elements continue to enliven the pulse. Wooden sounds join in, and the tone of the synthesiser begins to warp as if in some crazy wah-wah effect. Extra notes emerge as the oscillating groove distorts and separates into new sounds. Strange filters revel in misjoining and mutating the semblance of the synthesiser signal. Boss 303 is a clear demonstration of technical prowess.
Coachella by Deniro is available on Bandcamp
Follow трип Records on Facebook
Follow Deniro on Soundcloud
Futuristant & Aura Nox
Science Cult Records
TBR: 4th December
This mysterious Italian producer, operating under the Futuristant heading, has been making a huge name for himself over recent months. Now with a full-on EP including a fantastic remix from Panorama Bar resident DJ Alessandro Adriani, the creator of sultry disco and electro continues the theme. The EP also introduces the brilliant Aura Nox, who's name will be appearing on many press-releases in the following year. This double stroke of the boat from two talented and modern producers will navigate these rapid waters.
With reverberating and damp scattered beats, Entropy begins. A novel aspect in the drum pattern brings out an interesting and highly listenable sound. Synthesiser resists as extra drums pound in a snare and bass heavy rumble. Breathy sounds scratch within dank caverns. Then, a plucking rhythmic melody breaks through. Distorted fractions of sound add crackled pressure to the wholesome and well-composed mix. Vocal adds an emotional layer that meets us with moody and cerebral expressions.
Next, a sleek and driving rhythm opens with a simple beat. Extra drums fill in the space with neat and casual fills as a vibrating bass begins to create a kinetic direction. New rhythm builds within the beats to make the focus more unified. Massive layering projects a singular force of rhythm based on persistent drumming that grabs with simplicity. Vocals once more add mysterious phrases that are soaked in reverb. Sampled projections add layers of percussion that echo from bar to bar. Feminine Touch sinks in with velvet rhythms and haunting humanity.
A thumping kick infused with spark opens Power Cycle. A rumbling bass enters gradually, amplitude growing with each turn of the wheel. Soon it's dominating the track as the consistently driving kick continues to thud. New sounds wander in with mysterious edges, a melodic frill on horn like synthesiser and heavy-duty cymbals suddenly burst open the mix. Another wobbling and melodic rhythm injects in, a striding gallop with bouncy notes merges with the sighing percussion. Undertones add ghostly emanations that flutter in darkened corners of the sound.
Heady bass and kick drum begin a pulsing rhythm into track number four. A solitary tempo revs the mind and mesmerises the senses before a new layer of dynamic percussion fills the space. A vocal with robotic effects crunches a vowel before even more layers of beat add extra power to the current. Not So Dirty dances with electro blips and laser zaps which bounce around in tight cube like orientations. After a short breakdown, the music returns with extra synthesiser umpf that flirts in patchy tones that fly from seat to seat.
For the Entropy remix by Alessandro Adriani, heavy euphoria synth illumines like sunshine through hazy heat. Drums roll and strike in tied back motives while whistling and pushed synthesiser revels in a tethered freedom felt by immense atmosphere. Vocals span dreamy sections as shoe-gazing elements combine with heavy dance and experimental electronica.
Listen to Futuristant on Spotify
Out 30th November
Neo-classical and intelligent electronica music is what Fluttery Records are known for. AL_X has been off the radar for a few years since the prominent Shunt, which came out in 2014. This sparkling return to the scene brings seventeen brand new tracks to sink our ears into. Bringing out a more layered and textured composition than before, the ethereal quality of Liverpool's AL_X is given new dimensions.
Beginning with Auf Ver Loven, the music gracefully opens from a silence. Radiating synthesiser beams like dusty luminescence as harmonising tones drape extra garments over the silhouette. Organesque atmosphere grows in gradual blossoms that unfurl into harmonics and resonances. Piano breaks through like a stamen, it visits a brisk stairway of notes that dance around the flowing soundscape. Stringed instruments top the mix with introspective tones that uncloak to reveal choirs.
Next, another brief pause gives us time to muse on what we just heard. Then a distinctive new angle is unveiled that takes a vinyl warmth to a slightly jazz-like piano section. Strings warble in the background as synthesiser blips open out a sense of modernity. Time To Wait uses homely improvisations combine to create a once-in-a-life-time combination of sensations, dreams, and desires. Subtropical feelings flow from sunny mixing that distorts with energy.
A strange ambience creeps in from the shadow as odd harmonies form in windy gusts and the crackling of magic. Onwards Parts 1 and 2 enters with a cautious progression which then becomes a bass drone carried by resonant drums. Emotional and darkened beats rattle and thud in misty glooms which occasionally manifest into familiar shapes. Throbbing pulsations of power then stretch and vibrate across the bars, which then give way to a full-beam layering of the whole picture.
Distant melodies conjure ambient imagery that builds with each stroke of the brush. Enchanting notes whistle on humming undertones. Mysteriousness gathers in tranquil spotlights as the culmination of their breathing begins to form a shell of sound. Musing and ruminating passages of subtle composition rise into craggy landscapes awash with rivers and movement. Low Sun casts its presence upon choppy mixing infused with depths and kinesis.
Melancholy and relaxing piano strokes build from subtle depressions in the silence. A string howls in the distance before a key-change drifts the emotion into a new layer of depth. The Wait drifts like flags on solitary poles in abandoned parks, everything about them is the same only no-one is there to capture the moments as they flicker by. Next, we meet Singularity. The piano moves once again to dance in an adjacent field, one that's filled with budding flowers. An aromatic air hangs gently above the music as subtle symphonics coast in the wake of the tidal melody.
Now we head Into The Hills And Trees. A wideness spans out in quiet chords as piano and string then journey in meandering motions towards the present moment. A euphoria sprouts as digital tones scale in a major harmony across the thoughtful phrases of composition. A shimmering air with speckles of brightness dances with freeing sensations of musical calm. An untitled number follows for the eighth position on this immense album. Guitar and piano join as unison wander as vocals bring out a definitive human quality. More synthesiser gathers the slack fabric into folded uniformity.
A dreamy drench of spongy and soft synthesiser then emerges to gently press cushioning sounds on whatever harshness may remain. Unique sound forms and mirroring of clarity create a lattice of shifting intention as multi-instrumental yearns push for closer gazes at the core. Endless Sleep Ensemble lifts us into cotton like arenas that seek comfort and peace. This is followed by a depth that throbs with a sinister edge. Vaporous synthesiser spoons at suggestive intentions with twisting and scooping tones. Low Clouds forms an intensity over the passing bars which see amplitudes increase to bring out the layered dressing that garnishes the rhythm.
Leaving The World Behind carries a quick rhythm that crackles like a Victorian fire. Smooth vocals then open in organic lucidity which grounds us after a long stretch of out-there electronica. A trip-hop element builds with the melodic vocal-lines. As the composition builds, quirky synthesiser revels in the rhythms which tingle on emotional verses. Once the song is finished, another angle of strangeness is revealed by the low tide. Fuzzing sounds scatter in electron distribution diagrams focussing on protons of pure being. Dissemble takes its time, a Gregorian feel rumbles under the synthetic instruments, phonic mumbling on bass shelves motion onward as the slow-moving sounds break like gentle waves.
A sombre and solitary piano now opens with a pretty progression of notes. Interesting resonances playfully warm the notes as new elements join to create a multifaceted sonic schematic. Vibrant and shrill violins add a tension which grows to breaking then disappears with the music. Intermission gives us pause to think. It is replaced with a retro style bass progression that walks in a looped avenue of scale. Drums fill the spaces to create a river of rhythmic synthesised funk. Trumpet sounds cry like seagulls and a running sensation keeps the music building with new elements of composition. Beyond Perception shimmers with old-school motifs built from nostalgic keyboards.
La Ment starts like an underground train tunnel before the train arrives, a howling grows to a gust before a stream of steady music emerges from the gloom. Not a heavy carriage with an ominous facia but a sleek and gentle flow of dreamy tones with gracefully positioned chords. Plucked notes drip like rain on tense surfaces as shimmers of reflection move across the film. A rumbling drone builds into liquid colour as After The Rain begins. Gentle and softly struck tones create a passage for thought to progress under as harmonies and pressures seamlessly grow. It ends with For Ed. A brief pause lets us align our hearing before a breezy piano melody begins. Harmonies match note for note as dual compositions playfully dance along the stave. More layers of tune build in, making the music swell with cinematic charm and character. Ed must be some guy.
Low Clouds by AL_X is available on Bandcamp
You can visit Fluttery Records online
Listen to AL_X on Soundcloud
Rift Vision 001
Rift Vision Records
TBR: 20th November
Stay-at-home music producer and pro-streaming DJ Lauren Ritter is here to showcase her latest adventure. Rift Vision Records is a brand new music label that will be providing liminal and subconscious music that wants to inspire dancing and gathering. Bouncing from the wall of her recent minimal house sessions, this new direction shows us the tender and introspective side to the artist. Utilising live music, organic instruments, and spoken word from Tenesha The Wordsmith, this EP explores the human side of electronica.
It begins with Vespers and a set of tonal drums begin to chant in heady progressions. A synthetic kick merges with timbre from wooden and skinned percussion. Cymbals plunge in from the edge as a dreamy plucked melody starts to bubble through filmy vision. Synthesiser frolics as the rhythm sections the music into structure.
Next we get a taste of the spoken word as a brief phonic is cast across the stillness like a stone. It bounces into synthesiser and retrograde rhythms that wind like a bobbin. More vocal rises from the dreamy composition, until a statue like form of poetry emerges in fullness. Splashy melody frames the magical positivity that manifests as womanly beauty. We next find ourselves in the whirlwind of Dirty Moses and a yang infused addition. This falls back to allow Tenesha the Wordsmith to conquer with love as many have done before.
Quartz begins with a funky rhythm built on drums that resonate with a genuine quality. A mix of skins and styles merge into one formation of percussive flux as layers nestle snugly against one another. A sneaking synthesiser brings out a pipe melody as luminous phrases shine like reflections at sunrise. Underneath forms a murky subchord that wobbles and distorts under layers of translucent sounds.
It ends with a euphoric synthesiser wave that splashes out across rumbling cymbal percussion, muffled at first but soon joined by extra instruments. Snare builds an exploratory progression as more melody begins to rise like layers of a volcanic island. Value of a Piece Taken emerges as a smooth and gradual piece that shimmers with an ethereal charm.
You can follow Lauren Ritter on Facebook
Listen to Lauren Ritter on Soundcloud
Find Rift Vision Records on Bandcamp
Radical Optimism EP
TBR: 14th December
Luz1e aka DJ Tabledance grew up surrounded by house and electro music. Her unique upbringing with an older brother as a heavy influence has created a truly eclectic artist. Drawing from all aspects of the wider genre, Luz1e brings her Chicago and New York style sound to the masses by incorporating the best of everything she enjoys. This Frankfurt based producer is in the heartland of European beats and sounds, so inviting in the American side of the art helps to diversify and grow the entire scene. We've already seen Luz1e enjoy airspace from labels such as Goddess Music, Shall Not Fade, and Lobster Theremin. Berlin's Voitax are clearly fortunate to be included in this list of publishers.
With crumbling static and swooping bass tones, Transition brushes its colours across the air. A throbbing rhythm emerges, bass kicks in a kinetic pattern before snaps and pops ride alongside clattering and rampant hats. Mysterious atmospherics creak and groan in the under-sound as repeating drums push forward with consistent drive. Hedonistic depths swell and bubble as the percussion forms a neat snaking line through chaotic and introspective sensations.
Electronic Warefare begins with a sinister synthesiser tone that streaks across a neatly scattered bass drum. Stillness shattering cymbals are added, their formulated flow creating a 3D pattern in the centre of the room. Then, sequenced notes begin churning out rhythmic scales at a variety of speeds. They overlap and race each other along the deep corridor of bass and walls of sheering pitch. Huge and heavy energy thrusts as the drums shift and coalesce into new rhythmic forms. The mix of synthesiser and bass rumbles as the progression carries each section ever onward.
A smooth and reverberating selection of notes ring out as moving parts reach down in composition. Sunny phonics glisten as the once more thick and dense bass drum begins to spell out the movement. Again, a layer of hats and snare gives rise to another dimension to the condensed and solidified kinesis. Springy tones reach from shallow roots before jostling for space in the dissipating upper atmosphere. A progression allows for sectional spotlights that bring out various aspects of the flow and its feel. Radical Optimism continues the heavy dance ethic yet manages to stay out of the gloom.
With sweeps of radiating sound, wisps of synthesiser and digital manipulation drift from the stereo. A tapping rhythm enters, no bass as of yet, and soon a snare joins to create the familiar pulse. Then once another fill of interesting sound takes place, the bass reveals itself among fun and uplifting drumming. Sombre tones drown their emotions in the choppy lines filled with tubes of thickening bass melody. Dreamy phrases work in collaboration with one another as rhythm stitches disjointed sonics together with clarity and ease. Emotional Intelligence is calmer yet more dramatic and evocative.
You can order your copy of Radical Optimism from Bandcamp
visit Voitax Records online
follow Luz1e on Facebook
listen to Luz1e on Spotify
Displacement Activity Vol. 3
See Blue Audio Records
Out: 6th November
Co-founder of Disintegration State Records Steve Hadfield has been utilising his time in lockdown by producing expertly honed electronica. Releasing authentically quality material on the See Blue Audio label will no-doubt help to issue his work to yet more eager listeners. Now with two EPs already with the same title, it's about time The Electro Review entered the work into our listing. The new EP continues on the theme of challenging times and mental metamorphosis through long periods of being at home.
It begins as whistle-like tones enchant the airspace with fluctuating frequencies. Rumbles of distant staunch apparatus blow in on the wind as fragments of dripping sensation splash on the naked rock face. Sci-fi gasps form bubbles of wavery flow that harmonises and washes on gradually assembling covenants. Reflected holds posture through wisps of imparted sound.
Next is Blossom is a Vector. It rises from the fizz with crackles of vinylesque movement as piano from a curdling dream begins manifesting in reality. Rhythm enters, it sweeps the music into a vast array of potential that our linear minds can sense and feel on the next horizon. The piano continues to cast its spell as building percussion forms a passageway with harmonising and seductive additions. We walk on with grace and poise as flowering avenues guide us into unknown corridors.
Ever Onward creeps in on tender steps as peripheral chaos hangs back from a tranquil bubble decorated with sombre melodics. Static and discord build on tensive surfaces as the oblivious dream piano keeps time among the distorted focus outside. The music builds at the edges, until crackled disturbances begin to hollow out the perception of the interior.
Atmosphere thickens as mellow yet introspective motions of tone drift in on updraughts coiling from subterranean firepits. Smoky vortices creep and form face shapes that move and disperse into groups of ghostly scribbling and glyphs. A new section emerges as a gust of air creates a window in the plume. Beyond, shimmering mechanicals encrusted with natural gem formations continue in their ancient program. Liminal Night Feeds takes us into the cavern.
It ends with a denser track. Electronic blips dance with broken beats that retain their tempo yet crackle behind faded time. Snaking motion adopts framework suited for spacecraft as clanking rivets and armatures rattle to the continued computer impetus. Rises and declines in the rhythm bring a cyclic energy to the process which invites us to conjure imaginings and then collapse them once more. Alone, Dark makes us feel hypnotised and with mesmeric progression, the intensity rides on the wave of our subconscious.
You can follow Steve Hadfield on Twitter
Displacement Activity Vol. 1 - 3 is available on Bandcamp
Best Of Both Worlds EP
Black Catalogue Records
TBR: 11th November
In Cologne we find a diversely competent and musically enchanting artist. Zandile Mkwanazi otherwise known as Sandilé is setting sail for electro-dub land with her British scene inspired garage and deep bass manoeuvres. Already known for her highly flammable DJ prowess and a backlist of material across several reputable labels including Future Shock Musik, Boutade Musique, Like Records, and I'm In Love, this new edition takes home the shopping with everything on the list.
It begins with a house style drum riff that beats with a catchy hat garnished pulse. Snare then joins with a deep resonance to it that draws us in. A unique perspective then filters through as synthesiser wafts in through slightly opened curtains. Neat passages of cool air whisk past in melancholy yet optimistic gusts. A new franticness then builds as lyrics find a home in the groovy pace. Funky frills dance on the keyboard as spinning dancers spring into loops held high. MJ Flip takes hold straight away and lets us know this EP is one to put in the favourites pile.
First Of May begins with a mulled piano and strum that wrap neatly around skeletal drums that rattle with the moving bars. Gradual additions ramp up the percussion like gently opening crocuses on neatly cut lawns. Synthesiser slowly flows into the loop as piano notes begin to spell a storyline melody. We're taken in as jazz style formations bounce from electronic walls. Smooth waves of warming water lap as the relaxing bluesy composition mingles with funky side-effects and deft puppeteering of flow.
The next number begins the the track's title being repeated in a loop. Another voice adds a bassy version of the same phrase, One Time. Drums frame the track and as it progresses someone turns down the gas to let the music simmer. Mellow chords strike a poignant melody into the flow before new drumming adds an effervescent sensation to the feeling. Various experiments are conducted along the line of the vocal while the composition unfolds like a paper aeroplane containing a concealed message. More evocative rhythms merge with funky groove as the music evolves through motions of powerful potential.
A quicker pace is presented, simple two step drumming soon flourishes with cymbals that drench the minimality. A drum-roll follows which brings with it a fanciful synthesiser strike that echoes into warm and cosy rooms. Snug melody craves bass and as we listen it gradually finds a timing to suit. Periodic whirls of undercurrent break open the persistent and hypnotising rhythms. The notes of the keyboard shift over to form a whirlpool of liquid intention that carries us slightly faster through the rapidly building stream.
A funky rattling drum-kit starts up the final offering. A jazz inspired progression builds with vocals and quick and characterful drums. Smooth chords then chime out a delicate and swish melody that breezes and mellows. Brought up close, the lyrics invite us into a conversation. Just Like U and Me rumbles along nicely with warming tones and breakbeats that keep everything up in the air.
You can listen to Sandilé on Soundcloud
Follow Sandilé on Facebook
and find music by Sandilé on Bandcamp
Vielen Dank für das Lesen unseres Journalismus. Sie können uns unterstützen, indem Sie eBay-Verkäufe einkaufen. Danke vielmals.
Science Cult Records
TBR: 27th November
One half of the italo-beat supergroup Outtake puts his pedal to the metal and tests the wheels. Vincenzo Capaldo is here and with the moniker Bardamu is about to release a four track original that verges on the darker side of ebm, krautrock and techno for us as the darker months set in.
It begins with a vibrating melody that creeps along slow inclining stairs. The frantic buzzing slowly steps from position to position as a drum starts pounding a deep and resonant tempo. Sudden and chewy drums and percussion flow in from all sides as layers of drumming merge into choppy waters. Sans Titre builds with awkward uphill motion, as the music builds with discordant mixing and frightening breaks, the progression lurches from ladder to ladder as the energy continues to rise.
Next is Muffin Man. It works up to a climax slowly with the sound of a twisting mechanical device which soon joins scratching sounds and vocal samples. A buzzing sonic vibrates in the weft as intertwined loops continue to add pressure. Soon a drum is given a chance to pound and with plenty of sloshy metal-work, the percussion is given a firm riveting pulse. Dancing energy pushes forward as a break gives way to echoing vocal. Dirty chords and smashing drums then replace the noise and continue to direction of the track. A throbbing tempo underpins an interesting and organic culmination of sounds.
A smooth synthesiser build opens as vocal chatters across distorted airwaves. Cymbals like snorting nostrils sniff a rhythm that's soon bumped up by a repeating snare. Muffled tones and rhythms push onward through a misty thick fog which becomes a marching path of new and dynamic tones. A pulsing bass synthesiser chugs away like landmarks flying by at high-speed. Odd vocalisations mix with tapping percussives and shattering samples that scatter sound in all directions. Lasers and deep depths of bass combine with odd emotive noises. Death At Work combines stressful experience with layered velocity that we allow to happen outside of us.
The final offering is an Instrumental Version of Death At Work. It feels like a straight copy and yet as it opens out like a blossoming decoration, the sounds on offer are clearly not the same. Familiar rhythms find their way in but a certain element of the mix is not there, instead giving way to other more organic sounds that squeak and squash in the resonances.
Listen to Bardamu on Soundcloud
You can find out more on Science Cult online
Find Science Cult Records on Bandcamp
Out 23rd October
At a secret location somewhere in the highland metropolis of Glasgow, Bricolage Records emit quality and experimental electronic music to the world. This latest EP sees two regular artists team up and work on something together. Ty Lumnus and Urgula are best known for their own projects however the cCmndhr epoch surely sits firm on its own. This work is set on a fictitious island named Qwghlm and centres on the concepts of breaking codes and underwater research. Highly technical as always, the mental picture created by the idea is enough to invite the curious listener.
It opens as mysteriously as it reads with a whining pitch like a violin under digitosis that swerves and meanders in humming yet graceful manoeuvres. Drums then fold in like pastry filling, lining the matrix with tempo and drive. New blippy droplets form like condensation on cool windows, their tricking forms gently rolling into the mist while gathering mass. Perhaps this is how the universe began, to a rhythm of concave percussion and oddly angular sound tangents. Onnes draws us closer, with the mere shift of tone or break of drum we sit attentively waiting for the next progression.
A shaker accompanies a vocal like synthesise that chatters in poetic rhythms. Alien words made of tonal qualities and multiphonic harmonies clambers along the neatly portioned drumming that rises like oven bread. A bass then drags its feet into the gravel, churning up the undergrowth and revealing damp and nutritious earth. Slow and meaningful bars work their way through rose garden passages that sit meditatively in their own glorious aroma. We seem o be walking the mysterious paths of the mythical island of Qwghlm.
Huff Duff takes the finale, throbbing tufts of bass signpost a dreamy tempo as splashes of colour form globules in the air. Mysterious gravity hangs various ornamental shapes of sound at various positions. Newly found synthesiser voices from rummaging and reverse-engineering bring about a continual dynamic which flutters and buffets on distinctive walking melodies. A mechanical element maintains the digital-synthesis of sound function while an organic edge forms wholesome analogue within the manicured front section.
Find out more on Bricolage Records Bandcamp
TBR: 2nd November
Buhduzit is back with more dystopian and technologically relevant fusion. This new release sees two brand new tracks and a couple of extra versions make their way onto the catalogue. With a minimal write-up, we're left with a blank canvas for the music to decorate with its passing energy.
Jungle starts with mellow notes ringing out across subtle chaos sounds from life. These calm down while the composition remains and gathers pace with a drum-section. As the percussion builds alongside electronic sounds and blips, that scene of life re-emerges for a moment or two. A progression allows a build-up of drum and bass before the music reduces down to a selection of muted notes. These begin to form a new thread from which all the other sounds rejoin the mesmeric symphony.
Where's My Spirit follows on from the dreamy title-track. It begins with a snappy drumbeat which resounds on hollow echo chambers. An awkward moment symbolises something, before the music begins to progress. Scratchy rhythms break open bubbular formations that splash with melodic patterns. The pace is invigorated until it becomes a frantic marching beat, one-two rhythm pushes the silky strands of sound through a long-distance journey across every manner of soundscape. The atmosphere creeps in, a moment lapses where only dark clouds swell and roll over the sky. Then, rhythm once again joins the scenery alongside a long and scooping bass.
The next option is a God Damn The Son remix of the previous number. It begins with a spooky intro that wavers on soft lining before opening out into powerful drums. Electronic sounds rattle and dance in shady epochs while the pacing builds through vocal harmonics from distant choruses. The Wukah version opens with deep static and ghostly chimes that echo in short phrases. These become the foundation for a rhythm that builds across a sampled break. Vocals then speak in haunting words that conjure a resonant and slightly reversed drum-kit. Heavy bass permeates the sound as whistles and blips rain down from above.
You can follow Buhduzit on Facebook
Find music from Buhduzit on Bandcamp
and listen to Buhduzit on Soundcloud
Rowan Blair Colver for The Electro Review.