A lot of late night online dérives and digital crate digging seem to lead me back into the shadows of the Greek industrial/techno scene’s impressive doric columns these days. Can’t quite put my finger on why it tickles the taste buds so at the moment? but I think it’s the fuzz of the low end; the direct lines; the right amount of noise without over-egging the pudding. Big, weighty, heavy things with oracles living inside.
So we got ANFS and his label Modal Analysis, Vofa (Sawf & ANFS), the Kafta and Vanila labels (see previous posts), then I discovered Pi Electronics, Phormix Records and now OSM Tapes.
The debut tape/digital release by NO/ON is choice; a little bit lo-fi, nice fat distortion, hiss, sheets of noise, (reminded me a bit of the late 90s Amputate tunes or Dan Hekate’s mucky broken beat excursions?) but the tape medium really seems to suit the sound here. (Manni Dee dropped a couple of the tunes in one of his recent Rinse mixes).
Forget the plate smashing, the latest 14 track Phormix compilation ‘Consistency In Paranoia’ throws just about bloody everything against the wall in a total mezze of synth noise weirdness – and a lot of it sticks. Ouzos all round. Stand out for me is Core Belief’s bass strobing, drone screamer, which I could really do with a whole 4 track EP of similair blueprints of!
Also liked the previous ‘Light of Consciousness’ compilation, which wasn’t so off the wall.
And finally, Mumdance kept playing this tune last year all over his Rinse B2B sets and I got slightly obsessed with it for some reason (and had to use Shazam to ID it in the end heh). Something about that plaintive two note metallic wail drifting in the distance over the infectious beat hammer. Kind of a stand out example of what I hold up as the ‘Greek’ aesthetic; Simple and direct, but dirty and driving.
AKA Sawf & ANFS, showing strong industrial literacy on the relatively new Athens imprint Kafta.
Two big tunes for me here: ‘Lisiaxte’ hammers out a leviathan beat of panning 120bpm fuzz, convulsing in a filthy radioactive swamp of bass murk – stifling in weight and reduced parameter. While ‘Ami’ belches out dismal, fog-horn pulses of polluted bass into a necrotic landscape. No compositional peacocking here, just brute repetition and creeping electronic drone that almost feels ritualistic and existential by the end.
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.
The Don of dirty, broken beat, industrial techno in my opinion, might even put him over Perc…
“Dreamtime” is so phat you can’t even turn up the bass on the mixer! And it gives me straight flashbacks to mid ’90s Magnetic North/Drop Bass Network et al carnage; all those driven red hot, thrashing machine boxes, barely contained by the producers – any little nudge of a knob just letting loose another flailing, feedbacking, analogue stomper. That’s what it often felt like (for a while anyway heh); a wicked trip to follow down the rabbit hole out on the dancefloor.
From the evidence here, the machines still rule if you know how to harness the energy and Hare truly rinses the fuck out of his! expertly reining it in on a shoegazey, beatless breakdown and then unleashing sprays of sparking, arterial voltage all over the slamming, merciless funk to finish it. Total Destruction! Respect due.
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)