Ralph Cumbers aka Bass Clef dons his rambunctious moniker Myriad Myriads for a rowdy-to-gooey follow-up to his TTT debut of ’24, chasing a mutant rave dragon thru 14 bits of sawn-off rave shrapnel.
One up to their debut ‘Shardcore’, Myriad Myriads’ 2nd volley trades in a more fractious sort of mutant rave ballistics that variously shots hoovers from the hip and flips Opus III into a shivering gem, along with stacks of skewed rave presets. It exists in a vein of work by everyone from Lee Gamble to Anthoney J. Hart and The Automatics Group for levels of retro-futurist rave joyriding, and the label aptly reference the likes of Carl Stone’s decimated sampledelia for good measure.
If we’re playing faves, we advise to head straight to the gibber-jawed transformation of Opus III’s ‘it’s a Fine Day’ on ’Seventh Hit’, and likewise to the fire attack of orchestral stabs on ‘Fifth Hit’, or somethgin clearly resembling Theo Burt’s fourier transform fuckery on ‘A Place To Stay A Space To Play’, or the bashy Bonham breaks laced with psychoactive electronics in ‘Pouring water into the Levee’.
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Ralph Cumbers aka Bass Clef dons his rambunctious moniker Myriad Myriads for a rowdy-to-gooey follow-up to his TTT debut of ’24, chasing a mutant rave dragon thru 14 bits of sawn-off rave shrapnel.
One up to their debut ‘Shardcore’, Myriad Myriads’ 2nd volley trades in a more fractious sort of mutant rave ballistics that variously shots hoovers from the hip and flips Opus III into a shivering gem, along with stacks of skewed rave presets. It exists in a vein of work by everyone from Lee Gamble to Anthoney J. Hart and The Automatics Group for levels of retro-futurist rave joyriding, and the label aptly reference the likes of Carl Stone’s decimated sampledelia for good measure.
If we’re playing faves, we advise to head straight to the gibber-jawed transformation of Opus III’s ‘it’s a Fine Day’ on ’Seventh Hit’, and likewise to the fire attack of orchestral stabs on ‘Fifth Hit’, or somethgin clearly resembling Theo Burt’s fourier transform fuckery on ‘A Place To Stay A Space To Play’, or the bashy Bonham breaks laced with psychoactive electronics in ‘Pouring water into the Levee’.
Ralph Cumbers aka Bass Clef dons his rambunctious moniker Myriad Myriads for a rowdy-to-gooey follow-up to his TTT debut of ’24, chasing a mutant rave dragon thru 14 bits of sawn-off rave shrapnel.
One up to their debut ‘Shardcore’, Myriad Myriads’ 2nd volley trades in a more fractious sort of mutant rave ballistics that variously shots hoovers from the hip and flips Opus III into a shivering gem, along with stacks of skewed rave presets. It exists in a vein of work by everyone from Lee Gamble to Anthoney J. Hart and The Automatics Group for levels of retro-futurist rave joyriding, and the label aptly reference the likes of Carl Stone’s decimated sampledelia for good measure.
If we’re playing faves, we advise to head straight to the gibber-jawed transformation of Opus III’s ‘it’s a Fine Day’ on ’Seventh Hit’, and likewise to the fire attack of orchestral stabs on ‘Fifth Hit’, or somethgin clearly resembling Theo Burt’s fourier transform fuckery on ‘A Place To Stay A Space To Play’, or the bashy Bonham breaks laced with psychoactive electronics in ‘Pouring water into the Levee’.
Ralph Cumbers aka Bass Clef dons his rambunctious moniker Myriad Myriads for a rowdy-to-gooey follow-up to his TTT debut of ’24, chasing a mutant rave dragon thru 14 bits of sawn-off rave shrapnel.
One up to their debut ‘Shardcore’, Myriad Myriads’ 2nd volley trades in a more fractious sort of mutant rave ballistics that variously shots hoovers from the hip and flips Opus III into a shivering gem, along with stacks of skewed rave presets. It exists in a vein of work by everyone from Lee Gamble to Anthoney J. Hart and The Automatics Group for levels of retro-futurist rave joyriding, and the label aptly reference the likes of Carl Stone’s decimated sampledelia for good measure.
If we’re playing faves, we advise to head straight to the gibber-jawed transformation of Opus III’s ‘it’s a Fine Day’ on ’Seventh Hit’, and likewise to the fire attack of orchestral stabs on ‘Fifth Hit’, or somethgin clearly resembling Theo Burt’s fourier transform fuckery on ‘A Place To Stay A Space To Play’, or the bashy Bonham breaks laced with psychoactive electronics in ‘Pouring water into the Levee’.
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Ralph Cumbers aka Bass Clef dons his rambunctious moniker Myriad Myriads for a rowdy-to-gooey follow-up to his TTT debut of ’24, chasing a mutant rave dragon thru 14 bits of sawn-off rave shrapnel.
One up to their debut ‘Shardcore’, Myriad Myriads’ 2nd volley trades in a more fractious sort of mutant rave ballistics that variously shots hoovers from the hip and flips Opus III into a shivering gem, along with stacks of skewed rave presets. It exists in a vein of work by everyone from Lee Gamble to Anthoney J. Hart and The Automatics Group for levels of retro-futurist rave joyriding, and the label aptly reference the likes of Carl Stone’s decimated sampledelia for good measure.
If we’re playing faves, we advise to head straight to the gibber-jawed transformation of Opus III’s ‘it’s a Fine Day’ on ’Seventh Hit’, and likewise to the fire attack of orchestral stabs on ‘Fifth Hit’, or somethgin clearly resembling Theo Burt’s fourier transform fuckery on ‘A Place To Stay A Space To Play’, or the bashy Bonham breaks laced with psychoactive electronics in ‘Pouring water into the Levee’.