Couple of stand out tracks for me here:
‘Wreck‘ is admirable for its almost pagan, industrial war dance, round the burning fire, vibe; no hand shake at all, as it lines up the cross hair and delivers the projectile coup de grace.
‘Carrion‘; nice blippy, early AFX, industrial electro tip with ebm-ish vocal scouring that doesn’t swamp the vibe.
‘Concrete Desert‘ is my top tune; a looped, nuclear detonation strength, kick explosion that emits a levelling fallout cloud. Bleak, so bleak.
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.
I’d pretty much forgotten all about the original Zhark Recordings (and overlooked many a tune having now gone back and checked the back-catalogue). Still heads down, ploughing their furrow. Quality murky broken beat techno-step with aircraft hangar sized spatial dynamics and vocal incantation drift and acidic squelch. It expertly builds up the arms-outstretched, backwards free-fall into the k-hole. Proper dark.
I picked up on a lot of solid gems from one of Manni Dee’s shows on Rinse back in June (recommended by our always-on-the-case ZFE of course!) most in a deep “industrial” techno vein, but it’s not so much the category that matters, more the avalanche boom and thud of the huge warehouse reverbs applied to the low end and kicks that releases the oppressive tonnage onto the dancefloor (real or imagined). The syncopated broken beats, fuzz ‘n’ grind and paranoid trill of “Scent of Decline” is my personal fave here, but also feeling the breakbeat combo on “Rumination”.
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)
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.