Another UVB-76 Music sub-label curated by Vega & Outlook for “residual recordings documented in static matter”. This crew seem endlessly busy these days.
The hauntology positioning is a bit confusing (although painfully self-aware if truly grasped?) and kind of shoots themselves in the foot really: yes there’s a bit (not that much mind) of surface noise and hiss etc and the tracks ARE indeed neither present nor absent, neither dead nor alive (the eternal ‘techno paradox/impasse’ writ large) but do they really want us to ponder this as we consume their sweated-over output? Something akin to a chef putting his signature dish before you and telling you not to expect too much because after all, its only nutrition?
On their own merit though – as pieces of constructed, linear sound – I’ll take two of these for the bag. I like ’em without the guff just fine: the hypnotic, measured, deliberate glide of Pessimist’s slow, bouncey, break shuffle and Overlook’s ‘Purr’ which has more churning grit and lock-jaw drive but brightens towards the end like a creeping dawn.
I’m not haunted though. In the slightest, although a propos of ghosts etc I’ll leave you with this nubbin: I have an aunt who’s a bit “happy clappy” (Born Again Christian) who maintains that if you don’t belive in ghosts you can’t believe in the Holy Ghost. Ponder that one!
And speaking of Bristol and rave stabbing – leads me nicely onto DROOGS, the rather pointless sub-label of UVB-76. Natty artwork though.
There’s nowt wrong I suppose with some straight down the line, functional, D&B if you’re young and insist on your own own re-boot scene and practitioners to follow. I mean Aspect’s ‘Stand Clear’ is a ‘tune’ of sorts. Possibly. To some? – albeit a tried and tested one. Fuck it. Perhaps I’m the mug here? and it’s not even worth asking the question anymore – why people bother to spend their time creating such facile re-arrangements of such familiar sonic objects? This is Steve Carr/Digital and fam’s (Spirit, Total Science etc) ‘Dubzilla’ (2002) sound and era to a slavish T. Barely a tweak!
Honestly, purchasing these tunes was like a drunken shag with the Ex. You know you shouldn’t. Perversely, for some unknown reason, probably just because it’s easy and you can, you go with it but regret it as soon as the deed is done. The familiar pheromones are in your nose, on your skin again, but it’s too late as you remember all the hurt and pain you caused each other in the past.
Mr. Benjamin Tregaskes on Batu’s label.
Like a cloud of depression lifting, it feels liberating to get out of the plodding murk and scuzz of ‘Berlin-based’/Industrial/Techno and its ilk. Feels like I’ve been stuck in that swamp for too long – or possibly that I just don’t try hard enough to escape sometimes?
Things are always cleaner and smoother Bristol way though, and funkier too – there’s a good dose of futuristic polished chrome detailing and trim in the vibes without forgetting the sound system end game.
Lurka puts a top swing to the chugging beat here, without any processed cheese and combines it with a heavy subs battery and filtering rave stabbing.
There’s a clinical sheen to this LP – and I mean that in a good way; that feeling (and chemical smell) you sometimes get when you open up some brand new gadget or pair of kicks you’ve had your eye on for ages; the boxfresh, straight from the factory moment. Also a monastic, almost martial art simplicity and restraint to a lot of the beat and bass mongering (that in the wrong hands is just plod, like say Youngsta’s schtick, but here attains the finesse of handcrafted Japanese blades), a deliberate pacing for the subs to really breath and hit lower. ‘Point Blank’, ‘Mad Zapper’ and ‘Angry Drummer’ are my top tunes here.