Insult To Injury Records
Out: 20th November
This newest Timothy Clerkin EP has been wandering around for about a month now, and it's about time we gave it listen. Insult To Injury are a subdivision of Ransom Note Records that wants to specialise in the most fired-up dancing sounds. This EP includes a remix from the fashionable Berlin and New York resident False Witness. With a clear motivation to move to the music and a compositional clarity that reveals depth and splendour, this recent Clerkin will be on many decks during '21 and beyond.
The title track begins with a slime dirty bass that fizzes with distortion on a single note. Bouncing string meets steady snare and a tempo is gathered like thorny flowers. Hats are added along with pounding kick, before keyboards begin swaying and jostling with interesting sonics. A drum-fill sounds a wind-down and brings on a solitary melodic solo before the drumming gradually rejoins the mix. A wave like motion of musical energy repeats alongside various keyboard harmonies and scattering tones. As each revolution of the energy passes by, new and ever more dimensions to the track are added at just the right moments.
Wilderness opens with an expanse of tone and luminous melody. Shimmering sounds reverberate along deep and reaching strings before a thrashy rhythm breaks. Snare and bass rumble in steady and up-tempo loops as dreamy and imaginative music floats like skyfishes shoaling above our heads. Pulsing synthesiser rides and dances on floors of stretching harmony that ensures a major and introspective combination of notes.
The False Witness remix of Hatred emerges as the third chapter. A crackling sound bursts open with a thumping beat that's built on snare and bass. The long winded intro rhythm marks the intention of this number. It's a full to the brim dance track. Frothing and expanding synthesiser rises and overflows the containment of percussion as new and wide sounds grow from the powerful tempo. The build-up provides ample time to move and entrance each other with strobe-lighting and smoke machines.
The EP ends with Little Island Syndrome. This track begins with an odd whining synthesiser that's buffed up under hissing and odd bumping bass tones. A voice begins to speak over a tannoy like system. It's unclear what it says, it's like a memory or a dream. Robotic and distorted resonance binds with metallic timbre as more strange yet fascinating synthesiser snakes forward. Buzzing tones list and lean through tapestries of peculiarity. Then, as the music finds it's feet, a rain of arpeggio and sunshine bass scatters down on the now fertile and well-prepared ground.
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Rowan Blair Colver for The Electro Review.