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.
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Rowan Blair Colver for The Electro Review.