Swedish dynamo Peder Mannerfelt exerts a signature sidespin on a 2nd pack of wonky techno missiles with Karenn’s Voam label
Sibling to 2020’s ‘Like We Never Existed’, the five jags of ‘And the Band Played On’ come restless and full of surprises, working Peder’s knack for juxtaposed sounds and articulated limb movements. No line dancing business here, troops.
He comes with shoulders rolling and heads down into the fog with the ‘floor-swilling, modular garage-techno flex of ‘Year of the Rats’, and more deftly dances between the lines with undulating percussion and gravelly waves of noisy, textured pressure in ‘Toms for Life’, before packing it below the waist in the swivelling motion of ‘Squarewave of Heaven’ with its pranging drums and gruff acidic ructions. However, it gets more interesting when he tacitly acknowledges the temporary death of the rave in the final parts; a murky, elegiac moment of reflection titled ‘Hudson Lament’, and the knotted belly rush of sibilant hi-hat spray and wild arp graffiti of ‘Sail on Silverboy.’ Ja.
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Swedish dynamo Peder Mannerfelt exerts a signature sidespin on a 2nd pack of wonky techno missiles with Karenn’s Voam label
Sibling to 2020’s ‘Like We Never Existed’, the five jags of ‘And the Band Played On’ come restless and full of surprises, working Peder’s knack for juxtaposed sounds and articulated limb movements. No line dancing business here, troops.
He comes with shoulders rolling and heads down into the fog with the ‘floor-swilling, modular garage-techno flex of ‘Year of the Rats’, and more deftly dances between the lines with undulating percussion and gravelly waves of noisy, textured pressure in ‘Toms for Life’, before packing it below the waist in the swivelling motion of ‘Squarewave of Heaven’ with its pranging drums and gruff acidic ructions. However, it gets more interesting when he tacitly acknowledges the temporary death of the rave in the final parts; a murky, elegiac moment of reflection titled ‘Hudson Lament’, and the knotted belly rush of sibilant hi-hat spray and wild arp graffiti of ‘Sail on Silverboy.’ Ja.
Swedish dynamo Peder Mannerfelt exerts a signature sidespin on a 2nd pack of wonky techno missiles with Karenn’s Voam label
Sibling to 2020’s ‘Like We Never Existed’, the five jags of ‘And the Band Played On’ come restless and full of surprises, working Peder’s knack for juxtaposed sounds and articulated limb movements. No line dancing business here, troops.
He comes with shoulders rolling and heads down into the fog with the ‘floor-swilling, modular garage-techno flex of ‘Year of the Rats’, and more deftly dances between the lines with undulating percussion and gravelly waves of noisy, textured pressure in ‘Toms for Life’, before packing it below the waist in the swivelling motion of ‘Squarewave of Heaven’ with its pranging drums and gruff acidic ructions. However, it gets more interesting when he tacitly acknowledges the temporary death of the rave in the final parts; a murky, elegiac moment of reflection titled ‘Hudson Lament’, and the knotted belly rush of sibilant hi-hat spray and wild arp graffiti of ‘Sail on Silverboy.’ Ja.
Swedish dynamo Peder Mannerfelt exerts a signature sidespin on a 2nd pack of wonky techno missiles with Karenn’s Voam label
Sibling to 2020’s ‘Like We Never Existed’, the five jags of ‘And the Band Played On’ come restless and full of surprises, working Peder’s knack for juxtaposed sounds and articulated limb movements. No line dancing business here, troops.
He comes with shoulders rolling and heads down into the fog with the ‘floor-swilling, modular garage-techno flex of ‘Year of the Rats’, and more deftly dances between the lines with undulating percussion and gravelly waves of noisy, textured pressure in ‘Toms for Life’, before packing it below the waist in the swivelling motion of ‘Squarewave of Heaven’ with its pranging drums and gruff acidic ructions. However, it gets more interesting when he tacitly acknowledges the temporary death of the rave in the final parts; a murky, elegiac moment of reflection titled ‘Hudson Lament’, and the knotted belly rush of sibilant hi-hat spray and wild arp graffiti of ‘Sail on Silverboy.’ Ja.
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Swedish dynamo Peder Mannerfelt exerts a signature sidespin on a 2nd pack of wonky techno missiles with Karenn’s Voam label
Sibling to 2020’s ‘Like We Never Existed’, the five jags of ‘And the Band Played On’ come restless and full of surprises, working Peder’s knack for juxtaposed sounds and articulated limb movements. No line dancing business here, troops.
He comes with shoulders rolling and heads down into the fog with the ‘floor-swilling, modular garage-techno flex of ‘Year of the Rats’, and more deftly dances between the lines with undulating percussion and gravelly waves of noisy, textured pressure in ‘Toms for Life’, before packing it below the waist in the swivelling motion of ‘Squarewave of Heaven’ with its pranging drums and gruff acidic ructions. However, it gets more interesting when he tacitly acknowledges the temporary death of the rave in the final parts; a murky, elegiac moment of reflection titled ‘Hudson Lament’, and the knotted belly rush of sibilant hi-hat spray and wild arp graffiti of ‘Sail on Silverboy.’ Ja.