Pure, unadulterated Berlin techno trample and gloom from Kareem, getting nostalgic for the early phase of Zhark when its “radical aesthetic… lead to inadaptability and isolation”
Admirably making no concessions to taste or trend, the tracks on ‘1997’ are forged with a charred and unyielding quality that’s going to garner some proper grimaces from the hardest to please techno fiends.
‘1997’ is a ruffshod, uncompromising beast built around drop forge kids and noxious levels of distortion, whereas ‘Bass, How Low can You Go’ sees him reprise the cantering, grungy flex of his ‘Wildpicth, I Think I Loved You’ cut of 2014 with pendulous drums, droning bass and bruxist noise, seemingly all preparing us for the escalating intensity of ‘cryinggodz’ and its arch gothic industrial stare-down.
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Pure, unadulterated Berlin techno trample and gloom from Kareem, getting nostalgic for the early phase of Zhark when its “radical aesthetic… lead to inadaptability and isolation”
Admirably making no concessions to taste or trend, the tracks on ‘1997’ are forged with a charred and unyielding quality that’s going to garner some proper grimaces from the hardest to please techno fiends.
‘1997’ is a ruffshod, uncompromising beast built around drop forge kids and noxious levels of distortion, whereas ‘Bass, How Low can You Go’ sees him reprise the cantering, grungy flex of his ‘Wildpicth, I Think I Loved You’ cut of 2014 with pendulous drums, droning bass and bruxist noise, seemingly all preparing us for the escalating intensity of ‘cryinggodz’ and its arch gothic industrial stare-down.
Pure, unadulterated Berlin techno trample and gloom from Kareem, getting nostalgic for the early phase of Zhark when its “radical aesthetic… lead to inadaptability and isolation”
Admirably making no concessions to taste or trend, the tracks on ‘1997’ are forged with a charred and unyielding quality that’s going to garner some proper grimaces from the hardest to please techno fiends.
‘1997’ is a ruffshod, uncompromising beast built around drop forge kids and noxious levels of distortion, whereas ‘Bass, How Low can You Go’ sees him reprise the cantering, grungy flex of his ‘Wildpicth, I Think I Loved You’ cut of 2014 with pendulous drums, droning bass and bruxist noise, seemingly all preparing us for the escalating intensity of ‘cryinggodz’ and its arch gothic industrial stare-down.
Pure, unadulterated Berlin techno trample and gloom from Kareem, getting nostalgic for the early phase of Zhark when its “radical aesthetic… lead to inadaptability and isolation”
Admirably making no concessions to taste or trend, the tracks on ‘1997’ are forged with a charred and unyielding quality that’s going to garner some proper grimaces from the hardest to please techno fiends.
‘1997’ is a ruffshod, uncompromising beast built around drop forge kids and noxious levels of distortion, whereas ‘Bass, How Low can You Go’ sees him reprise the cantering, grungy flex of his ‘Wildpicth, I Think I Loved You’ cut of 2014 with pendulous drums, droning bass and bruxist noise, seemingly all preparing us for the escalating intensity of ‘cryinggodz’ and its arch gothic industrial stare-down.