Dense, murked out slices of almost old schoolish ’94 hardnoize 4/4; tidal waves of rumbling noise and booming impact but with a kind of suppressed headroom/digital grot? (as opposed to any gleeful up front, run-it-red mixing desk overdrive of analogue years gone by). Check the 2 minute breakdown and hissing-foam-on-the-rocks swell build in ’Science Gardens’ at around 4:00 mark.
Almost movie soundtrack clean and borderline pretentiously sweeping.
Middle eastern voices take you out to the desert – it’s a night time ops thing and there’s a bit of cold industrial gnarl alright but it’s deeply bedded in, somewhere out of reach.
‘Telane’ gears up promisingly to a moody, heads down, off kilter, post-industrial, robotic 129bpm funk but those fuckin’ Vangelis, sweeping cinema pads kick in again and put the dampers on it just as it’s starting to crank.
I dunno about the waves reference in the title? To me it’s an immersive drift down a long dark river – ‘Aguirre’/‘Heart of Darkness’ etc. each track perhaps portraying a distinct vista or section of the same journey?
Fuzzy, incessant, polyrhythmic beacons pulse in the gloom and murk. There’s the sense of an unknown beyond… and a feverish, indifferent blankness (as opposed to any menace or peril) to the somber walls of impenetrable chattering Amazonian canopy he builds. ’Suffrage Campaigners’ is (possibly?) the heaviest, maze-like cut here on what for me is his best and most complex release yet.
47017 – Overlook and Positive Centre debut their collaborative project, Carrier.
Masterful production on these impressively crunchy, jagged, industrial broken beats with a BIG rolling juggernaut of a low end. There’s an infectious, driving, piston funk woven into these tracks as they build and reach cruise speed, surely the result of Overlook’s D&B background and sensibility (over on UVB-76 Music etc). Sound system bangers. As is young Scaly’s ‘Ghroar’ tune below.
47018 – Serbia’s Scalameriya. Normally all I can say about his schtick is Meh! with a shrug; his competent but uninspired, perfectly adequate but textbooky, almost B-list, broken beat thumping and bashing. Still, essays handed in, no matter how badly written, can usually get you at least a C. So finished beats perfect, as they say. All that aside, he seems to ratchet it up a gear and break out for one stormer of a track ‘Ghroar’ injecting the template with rippling sheets of blurting, buzzsaw filth to make it monolithic, quite ritualistic and very nasty. Could’ve/should’ve gone even further though.
Must say, I didn’t think too much of this when it came out in March. I’d been playing catch up and listening to a tonne of the Grey Area et al. stuff over the last months so maybe I’d just ODed on the Horo sound? It sounded too muddy and murky with all its (mercifully) low in the mix corrosive EDM vocals and farty bass. I bought it though, like the nerd I am, and persevered with it in the pick-up with the sub woofer cranked on my night drives home. And suddenly I got right into it. It seemed to get better on repeat listens (something that’s not always or often the case). The extended 10 minute ‘Skewer’ was the one that did it for me and pulled me in: the cavernous Doom claps that whip up the vibe at the beginning….but then I wish they hadn’t been dropped out of the mix altogether….something could have really been done with those?
1. Tommy Four Seven: 47013 (47)
2. VSK: 47011 (47)
3. Stave: Black Hills (Standards & Practices)
4. Sam KDC: Of Myth & Mercury (Auxiliary)
5. Ghost In The Machine: One Louder (Perc Trax)
Top notch snarling, cone ripping broken beat business from the boss man. Levelling! 47 are definitely on a roll at the moment and setting new standards.