Some choice cuts off this latest compilation; Unhuman, Mondkopf, but Manni Dee’s contribution is particularly relentless; full on hiss, grit and broken beat bounce that unleashes an infectious, industrialised, Rotterdam Termination Source-esque ‘Poing’ with lashings of dub chamber white out.
That’s what I’m talking about! Boylan sneaks a last one in before the year plays out. Meticulous funereal Grime with an undead lumber – there’s almost a kind of Nosferatu-esque (1922 silent version) jerkiness and flicker to the swing and shuffle and dread laden bass grind. Sound system carnage guaranteed.
Pugilist smashes it again on Kenzo’s Artikal. He’s going to be one to watch if he keeps this up. ‘Raindance’ drops dessicated, concrete block beats and such hugely compressed bass weight you feel like you’re levitating a few inches off the floor on a magic carpet of low frequencies. No idea how the kid does it? but it’s special!
‘Murmur’ is the other standout for me, with a quirky stagger and lolloping swing to the groove; more slimey, rolling, more organic and wastelandish.
This is more like it. If you’re going to slavishly emulate and/or reference an all out Dub aesthetic you may as well come correct and get heavy with the business, rather than faff around with all this tasteful, fussy, calibration and twee restraint. Here we have the convincing, unforgiving smack, thud and pummel of a running-it-red, booming rig at peak witching hour, absolutely wiping the floor with the tepid likes of aforementioned Karma and other lightweight wannabes. I mean it’s not hard to do, if you set your dial to it, so better cut it professional with thick and oily ganja fug, and not fuck around, knowhaddmean?
To be honest I think this is a raw nerve within the Dubstep ‘community’. This blog has more tumbleweeds rolling through it than an abandoned desert western film set most of the time, ya get me? so when I posted some knocked off, rambling thoughts about Digidub v Dubstep last year, I was more than a little surprised to have more reads/visitors in a few hours/days than I get in a couple of months!? Go figure. I should re-write that piece properly and flesh out my argument coherently (if and when I can be bothered) because I was clearly on to something?
More Hench wobble nastiness, keeping it unpretentiously thuggish ruggish and pitching for the gut. (Nothing on the interweb to post a preview/listen of? but) ‘Just Do It’ stands out in the filth stakes and pummels the b-line into a bloody hash of compressed, minced frequencies. Outstanding dance floor business.
Foggy, ethereal trapstep minimalism from Paris on J Kenzo’s Artikal Music.
Huge, booming, murky bass tonnage that tokes hard and lines up the cross-hairs. Won’t make any sense at all unless played over real speakers or quality headphones.
One of those accidental finds where I was simply attracted by the name of the label; ‘Monsters of Doomcore’ (yeeeah!) and had to investigate…
Although when I looked up TPROE on Discogs and saw that he’s already supposedly released 25 albums(!?!) in the last 16 years I had to laugh. It’s surely impossible, for multiple reasons, to take any artist who makes that claim seriously (unless they’re maybe The Fall or the Melvins…and even then…ya get me?) That discussion aside (and unfairly perhaps? having little or no interest in exploring his back-catalogue as a result) there are definitely a couple of stand out warehouse-sized crowd smashers here.
I don’t really want to know or speculate what “Densely Packed Hitlers” is about? (especially with the label press-release touting over-population and that a “great culling is coming”…) however, the production does have expertly crafted, massive, crushing low end, clearly built to level huge space arenas in a cold rush vibe.