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.
I’ve just done a whole bunch of new(ish) release reviews for the next issue of Datacide so I’ll try not to double up/copy, but this latest one by Aquarian deserves special mention.
His best and most slamming release to date and probably my favourite Bass release of the moment. Drenched in dark warehouse rave vibes, he’s definitely beefed up the low end and fine-tuned his chopped breaks & kicks aesthetic; strong tension and release composition too. In fact I would go so far as to say; no-one does it better! Proof that keeping it simple always leads back to something stronger.
‘Bad Feeling’ could almost be of D’Arcangelo/SNS/ADC/Anibaldi Italian broken beat techno vintage, just as ‘Insulin’ hints at a Mover vibe too!
This is a must for any fans of that era/sound.
Hench tunes always make me feel tired and old (and I mean that in a good way). I find it strangely reassuring that there are young men out there wasting their youth on this thoroughly unpleasant, bleak sonic battering ramage. It takes a certain mettle of character to stay unwavering on this particular path and there’s scant reward at the end of the day, let’s face it. Certainly in technicality it’s far superior to the idolised non-entities of “craft” (the Jeff Mills, the Hawtins, and any other cretin variation thereof). So I find and hear hope in it.
‘Death Dealer’ is ultra tech, crisp, choppy stop-start, gnarled wobble business. Functional to the point of pitiless and everything tight and right in the mix. ‘Vortex’ is little more than an angry, mechanistic loop running on and on, filtering nastier as the track progresses. Again expert tech construction. There’s some respite in a sticky, false Trance nirvana halfway before it boshes back into the machine hell.
All that graffiti reminiscing got me all misty eyed about other characters from back in the day and while I don’t in any way want to turn this into a retro archiving sesh (…too many quality sites already doing that job on a far more impressive scale!) I couldn’t resist another follow up. And this segues nicely out of Fume.
The first proper rave nights I went to were the Tonka Sound System nights at the Zap in Brighton (circa 1991?) Harvey & Choci… what a line up! Can never forget the decks set up right in the middle of the dance floor below the stage, Choci with his shirt off, girls massaging him mid-set, everyone down to the last wo/man totally off their nut. Sweat, Vicks, Amyl and uninhibited dancing. Wildly eclectic sets right across the spectrum (and if you were lucky an after party on the beach down at Shoreham or wherever). And God’s honest truth, I cannot remember a single tune from those days, except (for some bizarre reason) Naz aka Naz’s “Organised Crime” !?! – the Godfather trumpet intro. “Just when I thought I was out…They pulled me back in.” I remember Choci dropping that at the peak of collective euphoria and the whole place going OFF!!!
Whatever happened to old Choci I started thinking?? He had a pretty wild run, from his Choci-Roc graffiti days in NYC, the first British writer to get up on the trains, to his DJ/producing/studio and record shops in Soho. The first record shops where I made weekly trips to and started buying and collecting vinyl obsessively from in fact (and where I discovered many an early Industrial Strength/Magnetic North/Drop Bass Network/Praxis hard techno gem and their like). Heady days. He went all Acid later and my visits tailed off but it was definitely a seed of my musical turn on and tune in.
I’d forgotten, or probably didn’t even register at the time, that one of his first tunes (if not the first?) was Mark One “Hoovers and Spraycans” from 1991 – featuring a pneumatic drill sample no less (Nomex would have been proud!) in a ’91 stylee – 4/4 kicks AND old school breakbeats. Solid ‘ardcore tune. Anyway, from what I can tell he’s back at the walls and spraycans now with the Team Robbo crew (who had that old school v new school spat with Banksy), some mention of him going into carpentry and not involved in music anymore theses days.
Footwork/Juke producer and former DJ Rashad collaborator comes correct with this monster Grime/Bass banger.
I heard ‘Ghosts in the Machine’ on a recent Mumdance/Rinse FM show and while it’s a totally polished, bolt-action DJ tool (with an almost vintage Slimzee/Youngstar/P-Jam bounce) to rinse out at peak slot witching hour, ‘Where do you go at Night?’ is the heavyweight capo di tutti capi. A superb rumbling avalanche of doom bass, all paranoid reverse loops and cavernous claps, taking it into a different arena altogether. Guaranteed to be a huge tune over sound systems.
Big ups too for keeping business faultlessly short and sweet. No padding or bull.