Gnarled Midwest acid techno badness from Heckadecimal on Philly’s faithfully noisy Great Circles
“2018 played host to a bumper crop of sounds from some of Philly’s grittiest, including Great Circles mainstays M//R and Chaperone. To close out the year that was, we are pleased to present Heckadecimal’s ‘Murder Tape.’
A Minneapolis-based producer and acid auteur, Heckadecimal has been a fixture within the vibrant Midwestern electronic music community for nearly 20 years. Founder of the legendary ‘Anti-human’ events and co-curator of the ever-prolific Always Human Tapes imprint – alongside Ryan Wurst and Peter Lansky – Heckadecimal’s reputation is one of unrelenting creativity and tireless advocacy for sonic experimentation. His work has found its way to light via a slew of pseudonyms and stage monikers, including The Worm, noface and Wonder Sirens.
In short – Heckadecimal lives and breathes the sonic matter that he leaves pouring out of studio monitors, busted bar systems and finely tuned rave stacks, wherever his travels take him.
Live performance lies at the core of Heckadecimal’s practice. When he stormed through Inciting HQ in Philly earlier this summer, he took command over an arsenal of hardware that reminded us of how Octave One or Shawn Rudiman might show up. These were machines that he had lived with; touched with custom modifications, hand-drawn stickers and pockmarks incurred in battle, one got the sense that the gear was a personal extension of the artist.
Perhaps it’s a bit maudlin, but we feel a certain kinship with this project. Indeed, these tracks at times feel very much of a piece with the gnarled tonalities in which our stable typically traffics; all low-slung riddims that reach at equal lengths towards mutated IDM aesthetics and post-Packard Plant techno extrusions. These are future perfect grooves that glide along under the vast Midwestern sky, providing a fertile communication conduit with the City of Brotherly Love.”
Ruddy EBM sleaze form Succhiamo, returning to Antinote with a 6-track dancefloor slap down
Leading on from their super rudimentary debut, there’s more glistening EBM flesh on show in ‘Mani In Fuoco’, firing off some strong dancefloor bullets in the scaly, serpentine writhe of their title track, and at a rapid tilt recalling Nitzer Ebb’s ‘Alarm’ in ‘Desiderio di violenza’, and what sounds like Marie Davidson meets Beau Wanzer in the clenched, metallic funk of ‘Vecchio’.
Prosaic drum programming upcycled with shiny softsynths.
“Having previously featured on BLCR and our sister label Pyramids, Ganz Feld has quietly carved out a reputation for himself with his distinctive dreampunk vision, incorporating twisted beats and melancholic undertones into his unmistakeable driving sound.
'Urania' sees Ganz Feld yet again at the top of his game on his Dream Catalogue debut. Straddling a tightrope between left field trap and future-conscious hardvapour, this is pulsating music for the digital age. The urgency of Ganz Feld's dystopian sound permeates through this contemporary music for shadow dwellers in what is perhaps his most accomplished effort to date - a warped love letter to the future and all its many prospects.”
Over 3.5 hours of sublime, milky ambience to bathe in, coaxed from classical records, found sounds, tape and hardware by Will Long a.k.a. Celer
“Part 1 of a series of pieces under the umbrella title "Oasis", created for an exhibit to re-create an unnatural atmosphere of an isolated area in a desert. Mixed and performed in real time February - June, 2017.
Found sounds, field recordings, Casio VZ-1, Yamaha DX7, EH Memory Man, Roland RE-501, Electronica LZ-01, reel flanger, turntable, classical records, H3000D/SX, Sony Tapecorder by Will Long.”
About time! Drexciya’s seminal Afrofuturist album finally sees reissue with Clone Classic Cuts, regaling the recordings of four young sons of an electrician from Flint, Michigan, USA, who pay dues to the endless inspiration of Kraftwerk
When it was originally released in 1995 with the prefacing info about four brothers, ‘Elektroworld’ became a crucial part of the Drexciyan mythology. Prefaced by a promo sheet with the suggestive info outlined above, the album was quite easily detectable as a Drexciyan production, but it wasn’t until 2008 when Warpmart spilt the beans, that ‘Elektroworld’ was officially identified as a James Stinson production. For many disciples of the the late great genius, the album includes some of Stinson’s definitive cuts in the spine-freezing ‘Japanese Electronics’ and the elegant funk of ‘Mystery World’ and ‘Midnight Drive’. But that’s not discount the rest of the set - there’s pure Drexciyan gold in the vocodered ace ‘Future Tone’ and the heart-fluttering chord changes of ’Silicon World’.
Stockholm LTD captain Pår Grindvik works out pendulous, brooding techno styles bordering on IDM/electronica
‘Trails’ is the bluer of the two, scorching around and off a beat cloaked in sweeping, melancholic pads and keening dissonance to a kind of post-rock-y climax.
‘The Right To Be Forgotten’ is shadowier, but more aggressive, laving the drums to a seething syncopation driven by low low bass and almost neuro-style D&B synths.