Pure Ork fuel from Belgian rave bastard DJ David Goblin a.k.a. David Coquelin, one of the nutters behind the brilliant PRR! PRR! label - close affiliates of Low Jack’s Editions Gravats
Going ham with nobs of new beat, EBM, hardcore techno and gabber, DJ David Goblin has just cooked up one of the maddest CDs that you’ll hear in 2018. It’s unmistakably daft in that suddy, sozzled Benelux style; the type of gear that could feasibly trigger an outbreak of St. Vitus Dance in modern day Brussels.
There’s two shorter cuts that should come in handy with certain DJs, namely the hi-tech folk pounder ‘Squigpipe’ for the Nkisi fans, and the relentless breakcore choppage of ‘Mordor Fuka’, but the main bulk of ‘Ork Muzik’ is two longer, megamix-styled cut-ups; 20 minutes of drunken master swagger and potty rave leads called ‘In The Klub (Goblinized Traks)’, and the mad patchwork of ‘In The Street (Goblinized Traks)’ cutting from bombed out electronics thru early Shackleton, collapsed rave classixxx and fluoro outernational soundsystem styles.
Grade A bangers!
Proper dancefloor dreadnaughts from Nkisi for Warp’s reheated Arcola label, binding Congolese rhythms with Mittel European hardcore styles as you’ve rarely heard them before.
Landing after Rian Treanor’s opening gambit Contraposition and 2814’s Pillar, this plate catches some serious heat from NON figurehead Nkisi, slicing off a sick full frontal showcase of her signature battering ram rhythms and blend of intense, needle-toothed synths with noxious gloomcore pads.
In effect, these are the latest examples of Nkisi’s unique form of up-to-the-minute, mutant folk music; four mutable grooves that twist the bones of later ‘90s brutalist aerobic mysticism between the Hecate or Christoph De Babalon-esque gloom of The Dark Orchestra and the brittle syncopation of Violent Tendencies on the A-side, and over to the ravenous Cold Rush cavalcade of G.E.O. and her frenetic, pitching stepper, Dark Noise.
Unmissable, this, liike.
Tunisia’s Deena Abdelwahed inhabits a fascinating space between tradition and technology, history and futurism in her strikingly moody debut solo album ‘Khonnar’, following from production credits on Fever Ray’s ’Plunge’ and use of her tracks in mixes by M.E.S.H. and Paula Temple. Subbass fiends need to check the final track ‘Rabbouni’, while fans of Jasss and Muslimgauze will gets strong kicks throughout...
“Deena Abdelwahed’s first album is shifting the epicenter of contemporary electronic music south. Pronounced “Ronnar“ (an essential detail so as to avoid facile misinterpretation by French- speakers) it is a term that makes the most of Tunisia’s cultural and linguistic spectrum. It evokes the dark, shameful and disturbing side of things, the one we usually seek to hide, but which Deena instead sticks our noses in with her debut. It is a testament to Deena’s coming into her own as a world citizen, and as an artist. A self-construction made of frustrations and constraints, borne of retrograde mindsets, which are not the prerogative of either the East or the West, and which she tirelessly strives to expose and break.
Throughout the 45 minutes of “Khonnar“, Deena breaks down the codes of bass, techno and experimental music, and writes the manifesto for a generation that does not seek to please or to conform, taking back control of its identity – with all the attendant losses and chaos. A new creative world order is taking shape, a new tilting point between north and south, the response of a connected and liberated youth who takes the control of the new decolonization.”