**Killer Drum & Bass mix from Karl O’Connor / Regis - Edition of 125 copies housed in custom made packaging including an individually numbered card insert** Gird your loins: Karl O'Connor a.k.a. Regis turns out 70 minutes of thee sickest late '90s D&B on the 1st cassette from Sam and Hayley Kerridge's Contort label. Practically kicking the heels of Sam's 2nd LP, 'Always Offended Never Ashamed', this recording was made on 12th November 2012 at a now-notorious session for the Berlin-based allday party-cum-imprint, revealing perhaps the biggest clue to O'Connor's recent taste for rolling sub-bass and broken rhythms in his own, post-Sandwell District productions. It's a flawless selection of circa '96-'98 D&B: that technofied hard-steppers sound best associated with No U-Turn, Moving Shadow, Prototype; all raging Reese bass, metallic breaks and spine-stiffening 2-step broken up with proper Bladerunner-esque breakdowns. Our nostalgia levels are thru the roof for this sound - much as we deeply love the whole run of '90s hardcore from earliest breaks thru the hyper-psychedelic collage of jungle and happy hardcore, it's this late '90s era - right before it tipped into big boy daftness - that gets us right *there*. Now, just put us in a stinking warehouse with a massive black rig and lock the doors.
One of Weevil Neighbourhood’s most persistent players returns with a debut album of roiling techno humus and sidelong, insectoid electronics under his own name after releases under the BOKEH and Steven Porter pseudonyms along with Anthone.
Sawa’s work exists in a state of semi-organic flux, living up to what you might expect from a label with a name like Weevil Neighbourhood thanks to a busy ecology of inter-laced noise patterns and mutating technoid churn.
Perhaps most central to Secret of Silence is a palpable sense of gloomy menace, clearly present in the cavernous dark side strings of Beginning and leaching across the album by osmosis thru the creaking, stygian rhythms of Immediate Awareness, from the decaying matter of Fake Funeral and under the feet of dancing voodoo mutants in Unauthorized Page.
The rack of skulls on the back cover are a bit of a give-away, too.
'The Blue Quicksand Is Going Now' is the debut album by Oliver Perryman a.k.a. FIS.
In pursuit of a sound ecology reflecting the complex dynamics of nature thru electronic music, FIS' un-quantised, texturally abstract compositions have practically ripped the rug from beneath the feet of D&B, techno and ambient music to leave them spinning in gyroscopic hyperspace. Now, after a series of cultishly acclaimed singles for Samurai Horo, Exit and Tri Angle, a.o., he atomises that aesthetic to exhilarating and utterly arresting new levels, leaving the dancefloor and bedroom floor leagues below/above in a mindblowing attempt to manipulate and transcend our earthly binds.
It feels like a sound that, collectively, the extreme anterrior of music has been keening towards for some time - from the amorphous structures of Autechre or Xenakis thru to the ecstatic noise of Jefre Cantu-Ledesma and Prurient or the sweeping contours of Alice Coltrane and TCF - but few have managed to hatch such a singular, all-at-once, and mercurial style with the ability to move mind and body so effectively as this pinnacle of the artform.
“t.e.s.o. are an electronic music duo based in Milan, formed in 2014 by Matteo Castiglioni and Jacopo Biffi. ‘No.3. Obliate’ is a towering tour de force of sonic architecture and the pairs second album. If the contemporary Brutalist architecture of Le Corbusier and Alison and Peter Smithson had a soundtrack, this surely, is it.
Their sound research is inspired by contemporary music, early twentieth century artistic ideas, jazz and IDM but with a deep interest in developing a personal vision about soundscapes, rhythms and melodies. Born as a live act commissioned by the Conservatorio of Milano, the duo released their first track on FatCat Records followed by their first self-produced album ‘Over a Neutral Landscape’ and then the ‘Plato’ EP on Rxstnz Records.
Alongside music production, the duo created a multimedia installation ‘neMachine’ earlier this summer that investigates the geometric studies of Le Corbusier in parallel to the musical production of Erik Satie.
Always looking for new sound architectures, the duo manipulate their self programmed software and hardware machines to produce new sonic landscapes. ‘No.3. Obliate’ is a no holds barred vision of their beguiling and brutalist sound design. A future of twisted concrete and rusted steel shot through with warmth and humanism.”
Sam & Hayley Kerridge's Contort label introduce the smart electro-acoustic synthesis of Emanuele Porcinai's WSR unit with 'Stainless'.
WSR's debut remains true to the clubnight-turned-label's aesthetic by consolidating dance music with electronic architecture and the natural reverbs of enclosed spaces. On the A-side, the opening passage of acoustic guitar and keys provide a seed which blooms into rubbled concrète petals and quicksand techno with a melancholy Berlin/Manchester appeal, whilst 'Stainless' trades in swooning minor key strings and the kind of spatial convolutions we'd expect from Emptyset.
Flip it over and 'No Horizon' bites down with broken toothed rhythms and noirish chorales coming off like FiS tracking a gory Italian horror, before leaving the drums for dust with the gloaming dronescape of 'Inner Oceans'.
The label who broke Fis to the world present another hugely intriguing debut from the darkside, this one by Pact Infernal. F**k knows who they are or what fetid hole they came from, but we can tell you that 'The Descent (Chapter I)' is a pitch black piece of post-D&B/industrial ambient sludge of the calibre we crave. Under track titles invoking religious themes - 'Limbo', 'Gluttony', 'Lust' - the music reflects a stygian passage thru the netherworld, urged on by distant drums and thrumming subs across rivers of carmine drone and obfuscated Gregorian chant unraveling like details of a Bosch tapestry. I'm pretty sure you know the stuff we're talking about. RIYL Raime, Felix K, Kareem.
Backed up by a monstrous Regis remix, Stave's taking no prisoners on this one for Repitch. Jonathan Krohn, the Chicagoan also behind Male and Talker (with Karl Meier), sets the tone with a gravelly slammer called 'Hardened Chord' which Regis promptly kicks the fxxk out of in his nastiest, noisiest remix for quite some time. B-side, Stave gets his rocks off on a thoroughly unpleasant, thundering 'Circle Pit' assault and the cloven hoofed swarm of 'Paid Jazz'. Have mercy on the children, we beseech thee…