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.
Speaking of that Italian broken beat techno sound, Guillaume ‘Dr Macabre’ Leroux has just dusted off his old hard drive archives and revealed some very tasty cuts in this vein – mournful, radioactive sunrise dirges over piston juddering, industrial beats. I’ve cherry picked them, although there aren’t any Soundcloud/Youtube uploads (as yet). Check them on Juno? :
7. ‘Before Dawn’/ 10. ‘Crying For HELP’ / 13. ‘Sunday Caramel’ / 18. ‘Late at Night’ / 19. ‘Today is a Good Day to Die’ (my personal favourite)
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.
Sticking out like an iceberg on the EP – this (first couple of minutes…) is powerful low end, tsunami, bass power noise with impressive menace and build.
A one off maybe? because the rest of the material succumbs to the leitmotifs of label boss Rabit (and the obvious temptations of sucking up to the boss, clearly) – jittery, scrunchy, spastic, stop-start, sonic doodling without intent. All very archly ‘abstract’ and ‘détourned’ flubbery sound design à la IRCAM/Stockhausen, but to what purpose who knows?
We often talk about music, or frame it, in terms of “going places…”, “going somewhere…” but this goes nowhere, and not in a good way either (like Satie’s ‘Vexations’ or La Monte Young drone marathons say?). It’s just f***ing irritating listening.
Less than two months after Samuel Beckett’s death on 22 December 1989, Harold Pinter recorded the below memoir of the dramatist under the title “A Wake for Sam” – Pinter shares his memories of his first meeting with Beckett, reads a short appreciation, and finally recites the conclusion of The Unnamable. Double genius…
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.