Master musical storytellers Andrew Chalk and Timo Van Lujik lure us into a “A musical fantasy in two movements symbolising the evocative power and poetry of ancient illustration” with their 4th Elodie side - a must-check for fans of later works by The Caretaker.
In flaking detail and with time-slowing patience, in ‘Miniatures Persanes’ Chalk & Van Lujik create a beautifully ephemeral bridge between mediums of painting and musical composition. Unfolding in two seamless sides, they present the sonic equivalent of staring at a portion of an illustration so intently that they render a whole subplot or microcosmic narrative from its evocative cues.
In ‘Le Doigt d’Etonnement’ their peeling/pealing loops of suppertime jazz and folk instrumentation appear to resemble the effect of spending so long with the image that the divide between it’s depiction and reality becomes cracked, porous and topological, enchanting the 2D into an habitable 3D landscape of ancient, pastoral scenes replete with haptic sensations of breeze on skin and grass underfoot. If that first side feels like a undergoing a transition or transubstantiation, ‘Illuminations’ on the B-side appears to consolidate the effect from surreal abstraction into reality with more discernible instrumental gestures colouring the scene in watery flutes and smudged electronic oils underlined by dark stream of bass with such a strong sense of hypnagogia that you’ll do well to stay in the waking dimension by the end of the piece.
Safe to say we love Elodie, and love this record.
NYC house and techno original, Levon Vincent turns out a 3rd album flush with melodic colour and underlined with signature, sensitive but powerful production values.
As found on the run of 12”s leading up to ‘World Order Music’, Levon has been subtly diversifying his bonds beyond pure 120bpm club grooves in recent years, and here variously dips between smart runs into dreamy ambient house and beatless vignettes as well as electro, trance and synth-pop slanted variations of his trademark vibe.
The 11 tracks add up one of the most optimistic records in Levon’s catalogue, which now spans the past 2 decades, but can’t escape the pull of ‘80s and ‘90s NYC, from deep garage house to warehouse techno via downtown avant-garde and ambient. At least a few of the numbers play into his Steve Reich-gone-techno style with typically rugged, buoyant elegance, while we’re best impressed with the likes of his sublime slow shuffler ’She Likes to Wave At Passing Boats’, and the LP’s most decadent, up-for-it numbers such as ‘Kiss Marry Kill’ with its puckered trance arps, and the cantering darkroom synth-pop/techno hybrid ‘Back To The Grind’.
New album from the Los Angeles-based quintet associated with the Los Angeles Free Music Society (LAFMS).
"Vibe, Extended Organ’s first full-length studio LP since 2000’s XOXO was recorded in April 2016 by members Joe Potts, Fredrik Nilsen, Paul McCarthy, Tom Recchion, and Alex Stevens. The album consists of two side-long tracks, Hate and Vibe, recorded live at LACM Studio in Pasadena, California by acclaimed engineer André Knecht. On Vibe, the band employs prepared piano, junk percussion, Joe Potts’ Chopped Optigan, electric guitar, voice, Rheem organ, various electronics, and homemade instruments.
Each track is improvised, then assembled and edited without overdubbing in studio. The music moves with velocity and direction revealing surprises at every turn. The resulting sound is ominous, humorous, harmonious, chaotic and at times quietly erotic. This is abstractly powerful music. The highly provocative cover image, created collaboratively by Joe Potts, Fredrik Nilsen, and Tom Recchion, is shrouded inside a unique laser-cut outer sleeve. Like the music contained within, the cover reveal is a beguiling experience in and of itself. This intriguing package was art directed and designed by Tom Recchion.
Heat-seeking broken beat bustle from London’s Emma-Jean Thackray, backed with Gilles Peterson edit
Originally a highlight of Makaya McCraven’s ‘Where We Come From (Chicago X London Mixtape)’ in 2018, this version gives a full side to Emma-Jean’s sterling turn of swingeing late ‘90s breaks, pointillist Rhodes stabs and consonant vocal harmonies punctuated with MC chat and devilish edits, whereas the B-side sees Gilles Peterson edit the sparking live chops of Makaya McCraven’s ‘Run Dem’ feat. Joe Armon-Jones, Theon Cross, Nubya Garcia and Soweto Kinch into a DJ friendly format.
Originally released as a limited edition four CD collection in 2009, Factory Communications: 1978-92 is a tribute to the label as well as a dedication to the founder, the late Tony Wilson. Making its debut on vinyl, the project celebrates arguably the most important label in UK pop history, collating rare and obscure tracks from a diverse range of acts. It features 63 tracks including cuts from New Order, Joy Division, The Durutti Column, Happy Mondays, Electronic, A Certain Ratio, Section 25 and many others and includes sleeve notes written by Paul Morley.
"Factory records was founded in 1978 when former Granada TV presenter Tony Wilson teamed up with Alan Erasmus, soon to be joined by maverick producer Martin Hannett. The Factory name was first used for a club featuring local bands including The Durutti Column, Cabaret Voltaire and Joy Division. The founding members of the label decided to release an EP of music by the acts who had performed there; “A Factory Sample” - and Factory Records was born.
Factory was however much more than just it’s headline acts. “Factory Communications: 1978-92” celebrates the label from the first release through an extremely diverse roster of acts from the cutting edge post punk of A Certain Ratio, Cabaret Voltaire, The Railway Children, OMD, James and Joy Division to obscurities such as Section 25, Biting Tongues, Crispy Ambulance, Miaow and Swamp Children via early dance culture - ESG and 52nd Street, to the full flowering of the ‘Madchester scene’, ending fittingly with the last Factory release, “Sunshine and Love” by Happy Mondays. Sleeve notes written by Paul Morley."
Tight but spaced-out broken beat badness from Montréal’s Unknown Mobile, making his Canadian rite of passage from Pacific Rhythm onto Planet Euphorique
Stepping up with a very UK-style sound, the ‘Mobile Sorcery’ EP twysts on the good foot from proper West London jumping beans in the acid-tagged ace ‘Broke Melt’, to ruggeder, electro-dubbed brokebeat functions in ‘Sorcery’ and its stripped down Bonus Beats mix.
Flipside he keeps the drums restless in ‘Heavenly Depression’, but shot thru with lushest, misty-eyed pads and proggy leads reminiscent of classic FSOL, and ‘Wilder’s Lake’ works at full swang with clustered congas and scudding dub chords wrapped up deep in-the-pocket with a killer, foreboding bassline that we look forward to hearing out.
Hailed as "a masterpiece" by Nurse With Wound's Steven Stapleton, 'Mu' was recorded at Conny Plank's studio only a few months after the legendary Wired session which ended up on Deutsche Grammofon's Free Improvisation boxset in 1974.
Over the course of one night with Diabolis in Musica Conny Plank (Legendary Kraftwerk producer and notable electronic musician in his own right) at the desk, Michael Ranta, the noted percussionist and engineer for Harry Partch (and longtime collaborator of Jean Claude Eloy) sat down with Mike Lewis, a percussionist who studied under Josef Dvorak, to create a freeform sonic abstraction of sublimely minimal psychedelic improvisation. Limited only by the length of the tapes, they created the four sections of 'Mu' and mixed the whole album down the following morning, with Ranta later adding percussion to 'Mu III'.
Their music is suspended in a timeless, spiritually resonant space, connecting threads and fragments of purely esoteric sonics into an organic matrix of otherworldly shapes and aural apparations, Plank using the studio as an instrument to the very extremes of possibility, imagination, and his own unquestionable talent. The results are genuinely breathtaking, delivering one of the most visceral, abstract and engrossing Krautrock experiences imaginable.
Hugely recommended - an essential purchase.
Herbert presents the funky results of a seven day workshop in the carpentry of the Deutsche Opera Berlin
Working under a typically egalitarian politics, Herbert invited anyone interested to bring their own instruments, voices, dogs and mates to make music over seven days structured around various stages of the process. DJs, politicians, musicians and theorists took part in the creation of the three tracks showcased here, ranging from the jiggly house of ‘Day Three’ to the rustling action and discordant keys of ‘Day Five’, and what sounds like a very lazy, hazy ‘Day Seven.’
2nd album time for dubstep survivor J:Kenzo, launched on his Artikal Music UK label following 2012’s eponymous debut for Tempa
Mainlining pure halfstep weight and dank atmospheres, ‘Taygeta Code’ plays hard into the classic dubstep aesthetic in eight parts, from grimacing rave gear in ‘Desired State’, to SP:MC or Burial-esque inspirations worked into ‘Broken Dreams’ featuring Lelijveld, and thru to freaky bleeps ’n bass on ‘Deadfall’, a mean acid halfstep mutation ‘Hoodwinked’; testosterone-fuelled aggression in ‘Narky (Body Dem)’ feat. legendary jungle MC Navigator; and right thru to some unexpected halfstep D&B/dancehall pressure in ’Token Image’.
Greek producer Pasiphae pushes a tense, furtive and killer electro-Italo-EBM sound on Interstellar Funk’s Artificial Dance
Recalling classic Murder Capital vibes as much as Helena Hauff’s contemporary scum budgers, but with an added air of ancient Hellenic intrigue, the Siphax EP is a strong testament to Fotini Kappa’s solo sound following her introduction on the Made Of Glass  hook-up with Intergalactic Gary for Bio Rhythm.
A-side, she bites down with steel-fanged jaws in the Giallo-esque scene-setter, Tachyons, then shifts down a gear for the aching sleaze and drama of Vertical Rotation, urged by evilly turgid subass and nerve-gnawing synths. B-side keeps up the pressure with Bladerunner-esque stacks of brassy synth flare in Quelque Chose De Mauvais recalling Afrodeutsche’s recent ace for Skam, logically pursued by the funereal Quelque Chose De Mal to an exceptional parting shot with the unharnessed, Italinate arps of header working just as usefully as an outro or dramatic set-starter in the right claws.
Mad, donking club trax from some mischievous blighter named Club Winston. RIYL that spoof Ben Klock Boiler Room...
Just straight up donks, fills and FX at 150bpm for those who like their WKD cold and fizzy.
Another wildcard from Sotofett, meeting mysterious violin and synth player Osaruxo for another cranky set of folk/dance oddities
The misfit caters loose percussion and Mellotron to Osaruxo’s strings and Oberheim Matrix-1000 on the A-side’s curiously slanted mix of rustic North European folk and Mid Eastern styles in ‘Hebi’, whereas the B-side’s ‘Haru’ breaks down in three parts of solo strings and stark dark ambient tones that unexpectedly keen into a steeply psychedelic finale on ‘Part 2’.
Cold cuts of mutant grime and dubby UK rave pressure from the Low End Activist Patrick Conway
Chasing up his Trim-starring debut in this mode (and a dozen other forays into techno and mutant bass styles), Low End Activist twysts out in six instrumentals lit up with choice MC chat and obviously heavy on the bass frequencies.
Up top he leans in like an East Man cut with the skeletal grime shifter ‘Street Level’, alongside the Filter Dread-esque angularities and gruffness of ‘Signal To Noise (Ratio)’, and its bleep ’n bass-styled sibling ‘Signal To Noise’. Down below, ‘Low End Activism’ is his scratchy 2-step calling card underlined by wide, sunken subs, and ‘Neighbourhood Nationalism’ dials into a scuzzy warehouse style recalling Scud ’n I-Sound’s Wasteland, with ‘Muzikon 90’ simmering at the end like some nutty strain of junglist gospel psychedelia.
Herbert rifles his archive for the deep house charms of his ’98 hook-up with vocal muse Dani Siciliano
Originally dispensed on his Phonography label and now trading 2nd hand for a pretty penny, ‘I Hadn’t Known (I Only Heard)’ spins out the loping, airy swing of the title track featuring Dabni’s low key vocals, which also light up the jazz-fonky dip of ‘So Now…’ (the EP’s original title), while the house boffin plays solo in deepest, introspective style on the soul-blushing hustle of ‘We All Need Love’ and the sub-loaded shift of ‘Got To Sing.’
Lovely ambient breezes from Ultramarine, originally issued by their longterm fans at Les Disques Du Crépuscule, and now on vinyl via band member Paul Hammond’s Real Soon.
Embedded in warmly atmospheric field recordings of Baha, Brazil, ‘Meditation’ is a truly balmy bounty built from twinkling Kalimba, lilting guitar and floating synth pads executed in a way that suggests, not tells, and leaves loads of room for the listener to construct their own narrative.
Unfolding in two parts, the first drifts from what sounds like a cafe by the coast, to more natural, elemental water rhythms and chiefs and back again via sweetly humid scenes strafed with colourfully plumed animaliculae. The second part picks up in dreamier dimensions with plucked melodies that unspool into duskier scenes lapped by tidal waters and fringed in enchanted synth strokes. There are definite similarities between this album and the waves of reissued Japanese environmental music, and while it’s maybe difficult, or even unnecessary to put a finger on why or how they are different, there’s just something more hypnagogic and balmy about this sound that effortlessly draws eyes to half-mast.
Knitting Factory Records reissue ‘Music Of Many Colours’ on black 140g vinyl with digital download code.
"‘Music Of Many Colours’ is a joint album between Roy Ayers and Fela Kuti, recorded after a three week tour of Nigeria’s major cities in 1979, during which Roy Ayers performed as the opening act for Fela’s band. The two artists decided to record the album as a round-up to the tour. Roy Ayers described the experience saying, “I met Fela Kuti in Nigeria in 1979, and we fell into a great relationship, good personal and music vibes, and we recorded that album together.
Fela also came to USA in the Eighties and we performed at NYC’s Madison Square Garden. Amazingly energetic, Fela Kuti had a very original concept that was called Afro Beat - a genre with a very unique identity and exceptional music. One of Fela Kuti’s most impressive qualities was that he was undeniably a brilliant show man, as a musician and as a huge dancer as well. His African concept was truly original… The tour was about two black men together coming together, one from Africa and other from USA, a very exciting collaboration.”
'Spiritual Jazz' is a snapshot of the era after Coltrane, a time which saw musicians speak about the reform of the soul spirit and society.
Most tracks here have never before reissued, and were previously only available on privately pressed LP's that change hands for hundreds of dollars from hidden, obscure and esoteric jazz musicians. The music is a personal journey with political statement, and which is religious and secular in one non-contradictory breath. Comprehensive introduction and liner notes with original stories direct from the musicians and artists. .. Ace.
A killer 45 of pure, blunt, steppers dub-noise force from Joachim Nordwall aka The iDEALIST, big recommendation if yr into Muslimgauze, Pan Sonic, Alva Noto...
Faithfully brought to life with mastering by Jack Callahan ov Sunburned Hand Of The Man and Bánh Mì Verlag esteem, The iDEALIST’s 2nd 7” sees him knuckle out two minimalist, monotonic steppers that fall in the gulf between dub, noise and Pan Sonic-like techno purism.
The trudging swang of ’Deep Shit’ is mounted on an off-centre, bass-driven pivot punctuated with deep fried claps and hissing hi-hats in a tracky style like Ilpo Väisänen’s Kangaroo 10”s reworked by Omar-S. Its B-side then helms harder to a full sunken kick/sub-bass ballast,. but held in balance with stressed electronic distortion and vaporous tones that get right up the nose.
Deadly gear mastered for optimal, physical effect on big soundsystems.
Sultry, debonaire, rugged Detroit house flex from Andrés, returning to his spiritual home at Moodymann’s Mahogani Music with his first new album since 2011
Andrés would have to make an album of black metal samples before his legion followers would think twice bout coping his new gear. There’s no BM on ‘IV’, so fill your boots if that applies to you. For anyone sitting on the fence, trust its brimming with swanging, MPC-built house, hip hop and beatdown vibes, all gilded by long-time 313 peers such as Paul Randolph, Amp Fiddler, and Amir, and even includes some vintage bits to get you up to speed.
The 2019 mix of ‘New For U’ - the anthem off 2011’s ‘III’ - is a straight-up burner, and heads will get properly snagged on the neck-snap break of ‘What’s Your Name Again?’ (is that a Clipse/Neptune’s sample?), while ‘Back In The Old Times’ serves all the Latin sauce you could need, and the D-side brings two nuggets in hi remix of ‘Free’ by Miek Grant’s Cool Peepl, and ‘Waist Deep’ warps up with a killer disco twist on a P-Funk classic.
Alton Ellis’s original 1967 Studio One version of ‘I’m Still In Love (With You)’ is one of the most well-known tracks in Jamaican music history...
"Based on an incredibly catchy rhythm that has seen countless versions over the years, most famously for Althea and Donna’s huge worldwide smash ‘Uptown Top Ranking’ in 1977 and Sean Paul and Sasha’s cover version that was a chart hit in the UK and numerous other countries in 2002. Here Soul Jazz Records present the original 7” version cut super loud and fat on a 12” single (and digital download single). On the B-side there’s a funky slice of JA Soul grooviness, the Soul Vendors’ ‘Just A Bit Of Soul’, featuring the one and only Jackie Mittoo."
A mixture of social, cultural, musical and oral history, Join The Future reveals the untold stories of bleep’s Yorkshire pioneers and those that came in their wake, moving from electro all-dayers and dub soundsystem clashes of the mid-1980s to the birth of hardcore and jungle in London and the South East. Along the way, you’ll find first-hand accounts of key clubs and raves, biographies of forgotten and overlooked production pioneers, stories of bleep outposts in Canada and the United States, and the inside story of the early years of one of electronic music’s most iconic labels, Warp Records.
"Includes quotes drawn from hundreds of interviews with DJs, dancers, producers and record label owners, including Cabaret Voltaire, Nightmares On Wax, LFO, Altern8, 808 State, Fabio & Grooverider, 4 Hero and many more.
Matt Anniss is a journalist and author specializing in electronic music, DJing and club culture. He began his career on internet magazines in the late 1990s before joining the staff of IDJ Magazine as Music Editor in 2000, later becoming Editor. Since leaving the magazine in 2008, he’s become a regular contributor to Resident Advisor, Red Bull Music Academy Daily and DJ Magazine, specializing in historical aspects of dance music culture.
“This was a vital creative era in British electronic music that deserved deeper exploration, so Matt Anniss’ history of ‘bleep and bass’, which sets the sound in the socio-political environment of its time, is a significant addition to the literature of dance culture.” Matthew Collin, author of ‘Altered State’ and ‘Rave On’"
For their first multi-artist compilation, Music From Memory take us on a trip to the heart of the Amazon rainforest. Outro Tempo: Electronic and Contemporary Music From Brazil, 1978-1992 is a double LP that explores the outer reaches of Brazilian music, where indigenous rhythms mix with synthesizers and where MPB mingles with drum computers.
"As Brazil faced the last years of its military dictatorship and transition to democracy, a generation of forward-thinking musicians developed an alternative vision of Brazilian music and culture. They embraced traditionally shunned electronic production methods and infused their music with elements of ambient, jazz-fusion, and minimalism. At the same time they referenced the musical forms and spirituality of indigenous tribes from the Amazon. The music they produced was a complex and mesmerising tapestry that vividly evoked Brazilian landscapes and simultaneously reached out to the world beyond its borders.
.The product of extensive research, this compilation is a unique introduction to this visionary music and features many fresh discoveries in a country well trodden by record diggers. It gathers tracks from obscure albums that have for too long been neglected by even the most avid collectors of Brazilian music. It includes now highly sought after music by Andréa Daltro, Maria Rita, and Fernando Falcão, as well as unknown gems like those of Cinema, Carlinhos Santos, and Anno Luz. This is an essential release that reveals a broader spectrum of Brazilian music, striking a unique sonic signature that is full of innovation, experimentation, and beauty.
Compiled by John Gómez and featuring extensive liner notes, Outro Tempo showcases this overlooked corner in Brazil’s rich music history for the first time."
Raime strain at the harness in four cuttingly sharp mutations of Afrobeats, Footwork, and Jungle with scintillating results on the 2nd release on their RR imprint. RIYL Leonce, Kode 9, Lee Gamble!!
Where the London duo’s 2018 EP and RR debut ‘We Can’t Be That Far From The Beginning’ evoked a meditative mood from the info overload of their home city that left acres of space to the imagination, the ‘Planted’ EP rejoins the dance with four tracks that icily acknowledge strong influence from Latin American and Chicago footwork styles in a classically skooled mutation of hardcore British dance music.
In four fleetingly ambiguous dancefloor workouts they carry on a conceptual theme exploring the digital subconscious with persistently invasive, alien ambient shrapnel - half-heard voices, aleatoric prangs, and tag-covered signposts - woven into and thru their tightly coiled and reflexive drum programming.
Uptown, ’Num’ flexes tendons and hips like a Leonce riddim that danced all the way from NOLA and ATL to the wintery dawn of a LDN warehouse, while the lip-biting tension of minimalist 160bpm jungle/ footwork patterns and jibber-jawed vocals in ‘Ripli’ suggests the Alien film’s protagonist lost in a mazy rave space, chased by H.R. Giger-designed face huggers (or gurning energy vampires). Downtown ‘Kella’ then catches them on a grimy dubtech bounce, cocked back and straining at the harness, before ‘Belly’ shuts down the dance with invasive, demonic motifs exploding over dark blue chords and palpitating jungle subs with impeccable darkside style.
Seemingly out of nowhere, Narcissi mesh Russian folksong with power electronics, ‘70s kosmiche tropes and ‘90s trance synths in a standout debut for the Danse Noire label. Tipped!!!
Strikingly dramatic in an austere-but-romantic Russian style, Narcissi’s eponymous debut sounds like fuck-all else in circulation right now. ‘В Путь-Дорожку Дальнюю’ is a hugely memorable introduction, with distorted, radioactive pulse and whining theremin-like tones buoying a Cyrillic sing-a-long for the end of days and saving a final coda for dancefloor victories. The piquant arps and lilting vox of ‘Скакал Казак через Долину’ follows in a style calling to mind Conrad Schnitzler teaming up with Vanligt Folk, and the soaring design of ‘Не для Меня’ is surely destined for your “beatless avant-gopnik trance rollers” folder, while the ambient ballideering of ‘Ах Ты, Ноченька’ proves the depth of their range with epic style.
Witchhouse pop from Phoebe Twiggs’ PTWIGGS project
“Ptwiggs second EP ‘Darkening of Light’ brings her signature heavy industrial drums alongside ethereal auto-tuned vocals embedded in immersive building melodies. Exploring concepts of pre-determinism, fatalism and the influence of the Ancient Chinese divination system, the I Ching. ‘Darkening of Light’ is cryptic without passing into the realms of the unknowable, It’s six tracks should be given time to unfurl and explain themselves in full.
The opening single ‘Worth It’ introduces a threatening throaty bassline contrasted with delicate emotive vocals that echo “I don’t understand why you hold my hand, look me in the eyes, am I worth the lies?…” layered industrial riffs ring out under the weight of crushing hardstyle drum breakdowns. 'When Shaken By A Strong Wind' delivers hazy liquid synthesisers and flickering guitars give homage to a post punk palette. The track based off the Bible; Revelation 6:13 signifies the natural self becoming separated from the spiritual self bringing an apocalypse to the world.
‘Ebb and Flow’ swirls distorted pads, with celestial multi-dimensional vocals, soft percussion and soaring leads. The track conjures up a dream-pop essence with the lyrics an abstract reflection that speaks peacefully about the origin of all things flowing into one.
Closing the EP is the track ‘The Town of Death’ a remarkable soundscape with a floating choir pad smothered by a detuned existential lead building form to a battle ground of drums and vocals that flood in with lyrics of despair "All the stars fell down". Dedicated to a town in Russia called 'Чапаевск' - Chapayevsk also known as the 'town of death' due to the high amount of toxins present in the environment.
‘Darkening of Light’ can be both oblique in it’s reference and entirely accurate about it’s being. Ptwiggs music deals with this human experience of denial, acceptance, inadequacy and pride, both of personal body and wider environment in a balanced manner. Entering darkness to understand the light, free from craving and aversion you will find everything in nothing.”
Swampy psych-dub chuggers from a member of the BFDM clan, Guillaume Lespinasse a.k.a. Jonquera
Hitting somewhere between the eyes of Black Zone Myth Chant and Tolouse Low Trax, ‘Formative Dubs’ wobbles from sleazy, queasy 4th world vibes in ‘Umamami’ to hit a wonky dembow downstroke with the whisked, air-stepping flair of ‘Hell Reggaeton’, before making space for the iridescent choral synth arrangement of ‘Smecta’, and pushing out into lush and cavernous electro-dub with ‘Jonquera At Caluire On The Rocks’, and checking out with what sounds like an early ‘90s Coil workout in ‘Escorc Voice In My Head’.
Bumper set of remixes for Tommy Four Seven featuring Pessimist, Machine Woman, Ansome, SØS Gunver Ryberg, Homemade Weapons, Silent Servant, Stenny Remix, Sawf, Parrish Smith and more...
On the first disc Pessimist coughs up one of his tarry chunks of grey area dankness from ‘Dead Ocean’, while Rhys Fulber ov Front Line Assembly fame grind ‘2084’ into submission, and SØS Gunver Ryberg turns ‘Neuromorph’ into a rabid rattering bam of bolshy kicks and haywire electronics.
The 2nd disc draws out a rolling D&B remix of \’Feed’ from Homemade Weapons, a weaponised electro-techno remix of ‘Aphelion’ from the master, Silent Servant, plus steel-hoofed noise techno from Sawf and a raging EBM-punk take on Colony’ by Parrish Smith.