Ruffhouse’s Karim Maas does worm-charming techno and abstract D’n’B night terrors on his killer 2nd 12” following the crooked trip hop of his recent collab with Pessimist.
Emerging as a new overlord of UK bass undercurrents with his ‘Old World Disorder’ EP in 2018, Karim Maas has come to represent a very fine strain of negative energy carried over from late ‘90s D&B, techno and dark ambient noise.
Under a title that nods to Panos Cosmatos’ modern sci-fi classic as much as his noirish club lust, the ‘Blakk Rainbow’ EP finds Karim edging ever closer to a consolidation of the crucial cinematic and dancefloor aspects of his style. The thousand yard stare drones and gut-rumble rolige of ‘Beyond The Blakk Rainbow’ perfectly resonates feel of the eponymous 2010 film, while ‘Trama Doll’ starts out sounding like a Source Direct intro but surpasses any bruk out urges in its slithering, viscous flow and mist of seething noise. ‘Saturn Return’ follows with a steeply enigmatic mix of Indian classical vocal perfusing pendulous bass and drums that resemble a desiccated Regis production, and ‘Know Your Enemy’ again highlights his keen sound design skills with a frighteningly immersive intro that gives way to a shuddering techno undertow that splits the difference between CUB and Fishermen.
’Trippin’ Musik’ is Nurse With Wound’s most significant new dose in a while, collecting 3 epic discs of steeply psychedelic sonics that may well alter your breathing and heart rates and mental state. No tracklisting provided, play however tf you like.
Following from the reissue of NWW’s ’Soliloquy For Lilith’ boxset, ‘Trippin’ Musik’ relays the most recent findings from Steven Stapleton and co’s ongoing psychedelic research / surrealist reconnaissance / occult practice in electro-acoustic and avant-garde spheres. As the title suggests, it’s one for the journey, taking up whole sides of vinyl with intensely and intently focussed recordings that often take over 20 minutes to say their psychedelic piece in a cryptic language of abstraction.
Whether you take drugs to listen to this music or not, the effect is likely to live up to the title, but we’re pretty certain it will be stronger with than without. One disc features a whole side of what sounds like a folk song fractalised and slowed down by Carl Stone, while another also sees them strung out in desert guitar scenes sort of like a digitized interpolation of Earth jamming with Soisong, and the side of rapidly panned gasps is practically guaranteed to send your head into a tailspin given the right conditions, before it all shores up in a deeply lysergic scene of strolling, head-squashing, liminal/laminal electronic timbres that feel like classic kosmische slowed down and exhaled by an AI.
Trust the efficacy of ’Trippin’ Musik’ for psychoactive potential is right up there with the most potent sonic substance. Approach with spare time and a well stocked freezer for best results.
Industrial man-machine Huren returns to the cold bosom of Kareem’s Zhark Berlin label for a powerful session of dark ambient and proper industrial techno traction
As one of Zhark’s most regular operators, Dave Foster aka Huren plays deep into the label’s signature style of deathly techno gloom like he means it, opening up with the preparatory drone ritual of ‘Chants for Magnetic Tape’ before unleashing the beast between the martial slog of ‘Children Without Worms (Sound Masses)’, a spot of pure tonal malevolence in ‘Timiskaming Square’, and the hardcore techno skullduggery of ‘Immemmory Motorik (Sound Masses)’.
Forest Swords makes a natural transition to composing for moving image with his evocative suite of aerial electronics and sweeping strings mixed with tart, dissonant themes that surely befit the themes of wonder and dread associated with flying drones. All exactingly mastered by Denis Blackham (Coil, Cabaret Voltaire, Eurhythmics)
“Part art film, part performance piece, ‘The Machine Air’ is a fever dream visual poem and the first film to be both about – and recorded by – flying drones. Created by speculative architect and director Liam Young, it jams together Youtube and Liveleak rips with specially filmed, astonishing aerial shots of Indian textile factories and Bolivian lithium mines – the first time ever captured on camera. Premiered in its original form at BFI London Film Festival, it’s since been screened at the likes of Sonar Festival and Eindhoven Bienniale.
Barnes’ score, presented here sculpted and edited into 14 individual tracks, echoes the film’s cyberpunk claustrophobia: smeared sci-fi synth and distorted melodies rattle alongside metronomic rhythms and stretched samples, rewiring the hums of flying vehicles into warped and contorted sound design. Intimate piano melody weaves with sub bass, while woozy electronics and strings mirror the fluttering of the machines as they hover skywards, powering up and down.
‘The Machine Air’s soundtrack navigates the tension of this tech in our lives: drones simultaneously used as autonomous killing machines or aid delivery vehicles; surveillance robots or Amazon shopping tools. While Barnes’ previous work has retooled organic and human sounds into modern electronic worlds, here he pushes and pulls the music into beautiful, more dystopian shapes, combining with Young’s visuals to give a chilly glimpse into the near future.”
Lorenz Lindner aka Mix Mup returns to Trilogy Tapes for a solo outing following on from that total peach of a collaboration with friend and cohort Kassem Mosse under the MM/KM moniker back in 2012.
This is music made of much cleaner, tidier stuff than most of what you'd usually associate with TTT, but "Sequoflec" pulls the kind of abstract shapes that make us imagine what Move D would sound like if he had a palette of hardcore snares and hi hats to work with - a tantalising prospect that really makes this EP pretty indispensable for our money.
Low-key, minimalist acoustic guitar soundtrack for a nocturnal Belgian film, full of wistful, spellbinding turns of phrase interspersed with haunting atmospheric tonal pieces
“Ghost Tropic is first and foremost the name of the third feature from acclaimed Belgian writer-director Bas Devos. The film tells the story of Khadija, a middle-aged cleaner who has no other option but to walk home through Brussels on a cold night after falling asleep on the last train. The journey is a reflection on motherhood and expectations, pride and unknown struggles, stories of the ghostly magic of a lonely night in a big city, of the kindness of strangers and the hurt felt seeing the vulnerability of someone you love.
Brecht Ameel, from the band Razen, uses his classical guitar training and his experience with various string instruments to craft a beautiful soundtrack of minimal ambient acoustic music. The Belgian musician’s intention was to create music that would be a warm blanket for the nocturnal odyssey of Khadija. A melody and rhythm to accompany her walk through the cold night, a sort of guiding light.”