Body In The Thames
Public Domain 3D Terrain
Disintegration State Records
TBR: January 15th
We welcome Disintegration State to 2021 at the Electro Review as they set sail with their latest catalogue entry. Public Domain 3D Terrain is the home-brewed sound potion of Sweden's Body In The Thames. The label have had their eye on this prolific producer for some time with headline work on Midland's Intergraded label plus remixes with Django Django / Self Esteem that demonstrate absolute proficiency. This full-length digital music production wants to sweep you away with clarity and class as well-made computer generated music forms unique and memorable functions of sensation.
With shimmering spotlights of abstract sound, keyboard works a crooked journey into a droning ambience. A humming throb reveals a layering of bass which accompanies the now melodious and evolving wavery kinesis. Slowly, the vibrations in the music grow and branch as separation of sound ensues. Electronic clicks wander along characteristic whisks of synthesiser. 6000...cash is a short number that creeps in and sits down without much fuss. It lets us grow fond of the choice sounds presented by the artist.
It follows with Alligator Souffle. Whisking chirrups of synthesiser spiral up and down as charming motifs sparkle around. A grabbing digital bass chants along with a stepping rhythm that insists we march along with it. A culmination of rhythm and melody grows like a crystal as facias and surfaces caress the glistening sunlight streaming in. Dancing funk and expressive motions of tone comply with steady bass which throbs in time and tune. Melodic edges play gracefully on the outer borders as self-similar phrases focus the flow.
A twinkling symphony of silken tones dances in a three-dimensional space somewhere above our heads. Plunging keyboard strikes dispel the gloom like comet-tails glistening as they plummet to distant horizons. A gradual unveiling of spectral majesty sheds the mantle of darkness as a sudden influx of chiming bass crunches in with a robotic influence. Harmonising digital tones wash with astral splendour as drums are layered in with a perfect transition. A kick drum and a shiny cymbal portray a neat and straight forward line through moving and weightless artefacts of sonic design. Xanthe Acid Youth glimmers with an ethereal cloak of translucent evidence. Shimmering synthesisers glance from gravitational waves under percussive propulsion.
A squelchy bass melody sponges and scoops with a swaggering rhythm as the next number opens up. Drums frame the sauntering digital effects of Bus Trips as tone reverberates along some meaningful reverb. Pulsing dapples sprout from undercurrents of rhythm which grow and push through the balance to dictate dancing warbles of melody. Tuneful bursts rise like newly formed birds leaping from dreamy realms made apparent by the wishes of well-behaved children. Frameworks of synthesised composition rise like scaffolding as the track is built up from simple rhythmic beginnings into complex and disparate shapes and sounds.
A new wave of funky rhythm pushes forward as the last instalment unwinds like a long day come to a close. A melody that carries like a cool breeze shifts evocations of sensation and dream while neat and well trimmed drums add just the right amounts of pressure. A drifting river that slumbers along in hazy evening light pours like liquid gold as the smooth and easy-going composition dictates. Some People Just Never Know When To Leave glides along with carefree abandon. Trills of slight melody scatter with temporal beats that reflect in the twists of flexing rhythm. Neatly parcelled sonic partitions span the distance taken as the adjusting and contoured projection continues with upbeat energy.
Find out more by visiting Body In The Thames online
Cultivated Electronics Records
TBR: 25th January
Following from his remix and collaboration duties, DMX Krew returns with a full EP of original material. This first outing for the label in 2021 sees DMX Krew lighting the way as he prepares to unleash Overseer EP. Riding out on the experimental funky stallion, the analogue and glistening sounds find foothills and outcrops to admire in turn. This sparkling new release is the latest in 25 years of work from Edward Upton, who also works under the name Rephlex and manages Breaking and Fresh Up Records.
It begins with Overseer. A smashing digital collapse implodes as a scattering of blippy beats begin to dance in droplets. Bass and snare rumble into the mix as a choppy digi-wah-bass begins spurning toward the sea. Buoyant tones then sail alongside in up and down formations that mirror the undercurrent of bass and drum. Deep and quenching thrusts on the tone compression invert the delivery of bass as percussive rolls fill the spaces with extra clarity.
A throbbing and thunderous bass then injects itself into the mix. Drums scamper around the inviting tempo as interesting angles dance from tone to tone. A quick and frantic motion stands tall as the track reaches its main body. Then dark and mysterious tones creep in shady regions hidden behind the towering beats. Serpentine transitions of sound coil and develop as the rhythm progresses into ever more energetic dimensions. Plashingers has a dual edge, one is pointy and vibrant like neon stars and the other is slow and sensual like a prowling jaguar.
Next, a shifty bass rhythm dishes out direction in throws of angular movement. Tonic drops and beeps begin to bump up the tempo before distinctive keyboards shimmer across the surface. A smooth outlay glides from corner to corner across an ornately decorated and textured surface. Dials and switches line the table like plastic soldiers, painted and ready to be put into action. Vacuum Surfers rumbles along with rampant pace, the grinding bass and thumping kick-drum combine to push all its synthesiser effects out to sea.
Diaspora once again hits us with that familiar analogue bass sound. Crunchy and grit-laden streams of highway line the composition. Sunny and low-bit flutters skim the luminescence as steady hats clamber in regular pulses. A gradual evolution studs the backdrop as churning rhythms and similar lines craft a streaming hypnosis that quivers with mechanical power.
Catch up with DMX Krew online
Find Cultivated Electronics on Bandcamp
Show Some Respect EP
TBR: 29th January
Lighting the way for a full-length 44 track album which includes styles like Bmore, Techhouse, Ghettotech, Electro, and Juke, DJ Godfather releases Show Some Respect EP. Introducing a snippet of the sounds we can learn to expect from this producer, the treat is in the unwrapping as we get to grips with this new sound collection. The work on the album has been mastered in such a way that the tracks bleed into each other, making seamless transitions of power seem like child's play. The following six months will see a gradual release of the entire production via these teasing yet generous stand alone instalments. This way, other DJs get samples of greater works that they can acquire and listeners can enjoy the definitive sounds of DJ Godfather.
It begins with Show Some Respect. An up-beat snappy rhythm starts and it's heavy on snare. Then, bass and sound effects wander in with a casual swagger. Meandering synthesiser tones dig out channels of bass-line while wispy and diverse sonics dance in a well-made choreography. Playful edges and plenty of drumming energy thrash out their differences over the chewy and deep-reach undertones. A choppy vocal enters, sneaking in syllables in expert time. Dancing forces spin us around as interesting and catchy sounds create a unique digital brew.
Track two begins with a driving rhythm, laid back yet fast in tempo. Shakers and bass dig around the pockets for a lighter, entering the realms of Sunday Morning Spliff. The music opens with a new layering of quick hats that roll and tumble with the addition of slow and graceful piano tones. Keyboards sway over like flowing curtains or the ends of a dress as its owner walks briskly past. Plucked strings from violin echo into blank spaces as framings of temporal beats bubble and effervesce.
A retro futuristic synth motif begins, it's melodic and rhythmic. Fun bass and drumming create a backdrop for a man talking about strippers. These Strippers takes us into the mind of a person who has lost self-control over two professional sex workers. All that pent up sexual energy has to come from somewhere, what drives people to such activities? As a work of art, the music makes you think about the basic desires and instincts that some find more difficult to handle than others. The track is listed twice, once as a vocal version and again as a running instrumental that holds the energy for another round of the circuit. It also gives us a chance to listen to the progressions and harmonies without the distraction.
You can follow DJ Godfather on Facebook
You can find Databass Records on Facebook
Dogs Versus Shadows
Nagasaki Collapse Team
TBR: 15th January
With a limited edition of 50 first pressings CD that contains a full-colour comic as well as the music, Dogs Versus Shadows slams into 2021 with absolute authority. Another dive into dystopian-futurist imaginings stalks the tracklist as a full-length journey through electronic sound configurations and beats carries us through.
A shrill harmony of pitch and buzz grows like the rising sun before dashes and sprints of digital notation flow across jagged horizons. Sparkles of an even higher harmony flutter like colourful insects and birds. A merging of walking and floating gestures amble in clouds of sonic dance. Today Only reminds us that we only get one of each. It's followed by Howzat. A cricket tune perhaps, it rolls like long stretching greens, sodden with rain. A sample cuts through in a haze, before close.
A thundering bass kicks in as a new level of music pinnacles with track three. Brutalist takes us to large-scale facias and orchestrated squares. Mournful pipe sounds curdle among sprinkling mute bells as resonant and atmospheric bass throbs in the undercurrent. Nagasaki Collapse Team is next. With ferocious buzz-saw synthesiser, the music spans into spreads of flashing strobe and glimmering lamp. Various tones and pitches project from occulted fountains yet appear in darkness as spectral and vaporous distinctions. A mournful song of an egregore that scampers the decks of forgotten estates.
Spongy trumpets rise like alien reeds among sludgy footsteps. Out-sprays of gas and colourful spores fling as gravity and mass combine in pressured rhythms. Negatives feels subterranean, damp and formless corridors reach into unknown cavities. Then, a mechanical engine of ruckus grumble-digs in through the walls. This is followed by a declining energy, and silence. Whisks of deep movement spin and coil as radio sounds spill into the centre. Bells clamber together in a brief tapestry that leaves us with Mouth.
A vast synthesiser opens out with bass and floral as plastic drums shift and turn. A wooden percussion then thumps in before metalwork crumbles like some fantastical cake. Spoons perhaps, the combination of rhythms grows again as more beats layer in like custard or cream. Heavy melody in the bass wanders in simple progressions that repeat and evolve as the rhythm goes through a tidal dynamic. Diary Moon seems to have phases, in which we occupy various mental perspectives. Not Spoken About For Years hits us with a discordant and fiery pipe sound that harmonises gently while overpowering us with volume. An uncomfortable sensation pierces the stillness while formula and aesthetic make headway in asserting themselves.
Water notes spill and twinkle in harmonics that resonate from cavernous walls. It wasn't meant to be like this, a simple and underground gambol of one into drippy and dimly lit surroundings. Next is Easy To Build. Wandering bass tones branch out from vinyl pressure that drags with the static needle. Minimal and sombre, a melody grows gently from the ground up which gathers bells once the wind catches its protrusions.
Windows Walls and Locks begins with a deep and thoughtful drone. Electronic telephone sounds with a disturbed and echoing shroud chime in harmonies that ghost in empty rooms. The hum of the generator keeps the space warm as subtle incompatibility grates on its edges. A slow and smoky floatation casts off into far-away waters. Lights on-board symbolise the living, unseen in the night, who go about their individual lives despite being so far away. Whitebeam lends us its energy and lets us peer in.
The final number is Stones and Sticks. Vibrant synthesiser orchestrates a buoyant melody which spreads out in an inflatable area. Drums begin, loose hats slap together in almost time as new sounds flirt with the backdrop. An uplifting combination of climbing melodies and interesting brightness within the sound design brings the splendid dream to a close.
You can get your copy of Nagasaki Collapse Team by Dogs Versus Shadows from Bandcamp
Catch Subexotic Records on Vimeo
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