Emptyset go back in order to move forwards on 'ash', their most ear-pummeling release to date, and their most beat-heavy since 2013's Raster Noton-released 'Recur'. Heavily spacialized and rough with analog grit, 'ash' is scientifically engineered body music that sounds like a busted jet engine playing to itself in a dark warehouse - properly crushing gear.
It's easy to forget that while Paul Purgas and James Ginzburg are best known for making electrically-charged beat music, their last few records have eschewed conventional structure in favor of algorithmic experimentation and instrumental exploration. 'ash' is a return to the roots of the project, penned over the last couple of years and finally assembled in Bristol, where Emptyset was conceived almost two decades ago. Gone are the lengthy, textural workouts, replaced by short, sharp, pressurized cuts that redraw the borders of dance music.
'flint' sounds like a dissociative episode in a meat locker, a wall of over-saturated feedback that eventually buckles when it catches a loping, irregular beat. Purgas and Ginzburg keep control of the rhythm, but refuse to let it cement into a discernible form, liquifying it whenever necessary. 'flame' is more structured, a regrouping of DJ Scud's blown-out breakcore with all fanciful elements torched in the incinerator. All that's left is womping bass, screeching feedback and piercing snare rushes - and honestly, that's all we need. And If you're looking for more psychedelic gear, the title track rumbles off the grid like a runaway train, lurching between expertly engineered, distorted shrieks.
'ash' is relatively brief, but Purgas and Ginzburg achieve something quite remarkable, re-examining their early work to consider what they might have done differently had they possessed the experience and technical expertise they've refined in the last couple of decades. The result is so oversized and physically obnoxious it'd challenge The Bug's loudest belters, and so rhythmically confounding you'll be unraveling it for weeks.
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Emptyset go back in order to move forwards on 'ash', their most ear-pummeling release to date, and their most beat-heavy since 2013's Raster Noton-released 'Recur'. Heavily spacialized and rough with analog grit, 'ash' is scientifically engineered body music that sounds like a busted jet engine playing to itself in a dark warehouse - properly crushing gear.
It's easy to forget that while Paul Purgas and James Ginzburg are best known for making electrically-charged beat music, their last few records have eschewed conventional structure in favor of algorithmic experimentation and instrumental exploration. 'ash' is a return to the roots of the project, penned over the last couple of years and finally assembled in Bristol, where Emptyset was conceived almost two decades ago. Gone are the lengthy, textural workouts, replaced by short, sharp, pressurized cuts that redraw the borders of dance music.
'flint' sounds like a dissociative episode in a meat locker, a wall of over-saturated feedback that eventually buckles when it catches a loping, irregular beat. Purgas and Ginzburg keep control of the rhythm, but refuse to let it cement into a discernible form, liquifying it whenever necessary. 'flame' is more structured, a regrouping of DJ Scud's blown-out breakcore with all fanciful elements torched in the incinerator. All that's left is womping bass, screeching feedback and piercing snare rushes - and honestly, that's all we need. And If you're looking for more psychedelic gear, the title track rumbles off the grid like a runaway train, lurching between expertly engineered, distorted shrieks.
'ash' is relatively brief, but Purgas and Ginzburg achieve something quite remarkable, re-examining their early work to consider what they might have done differently had they possessed the experience and technical expertise they've refined in the last couple of decades. The result is so oversized and physically obnoxious it'd challenge The Bug's loudest belters, and so rhythmically confounding you'll be unraveling it for weeks.
Emptyset go back in order to move forwards on 'ash', their most ear-pummeling release to date, and their most beat-heavy since 2013's Raster Noton-released 'Recur'. Heavily spacialized and rough with analog grit, 'ash' is scientifically engineered body music that sounds like a busted jet engine playing to itself in a dark warehouse - properly crushing gear.
It's easy to forget that while Paul Purgas and James Ginzburg are best known for making electrically-charged beat music, their last few records have eschewed conventional structure in favor of algorithmic experimentation and instrumental exploration. 'ash' is a return to the roots of the project, penned over the last couple of years and finally assembled in Bristol, where Emptyset was conceived almost two decades ago. Gone are the lengthy, textural workouts, replaced by short, sharp, pressurized cuts that redraw the borders of dance music.
'flint' sounds like a dissociative episode in a meat locker, a wall of over-saturated feedback that eventually buckles when it catches a loping, irregular beat. Purgas and Ginzburg keep control of the rhythm, but refuse to let it cement into a discernible form, liquifying it whenever necessary. 'flame' is more structured, a regrouping of DJ Scud's blown-out breakcore with all fanciful elements torched in the incinerator. All that's left is womping bass, screeching feedback and piercing snare rushes - and honestly, that's all we need. And If you're looking for more psychedelic gear, the title track rumbles off the grid like a runaway train, lurching between expertly engineered, distorted shrieks.
'ash' is relatively brief, but Purgas and Ginzburg achieve something quite remarkable, re-examining their early work to consider what they might have done differently had they possessed the experience and technical expertise they've refined in the last couple of decades. The result is so oversized and physically obnoxious it'd challenge The Bug's loudest belters, and so rhythmically confounding you'll be unraveling it for weeks.
Emptyset go back in order to move forwards on 'ash', their most ear-pummeling release to date, and their most beat-heavy since 2013's Raster Noton-released 'Recur'. Heavily spacialized and rough with analog grit, 'ash' is scientifically engineered body music that sounds like a busted jet engine playing to itself in a dark warehouse - properly crushing gear.
It's easy to forget that while Paul Purgas and James Ginzburg are best known for making electrically-charged beat music, their last few records have eschewed conventional structure in favor of algorithmic experimentation and instrumental exploration. 'ash' is a return to the roots of the project, penned over the last couple of years and finally assembled in Bristol, where Emptyset was conceived almost two decades ago. Gone are the lengthy, textural workouts, replaced by short, sharp, pressurized cuts that redraw the borders of dance music.
'flint' sounds like a dissociative episode in a meat locker, a wall of over-saturated feedback that eventually buckles when it catches a loping, irregular beat. Purgas and Ginzburg keep control of the rhythm, but refuse to let it cement into a discernible form, liquifying it whenever necessary. 'flame' is more structured, a regrouping of DJ Scud's blown-out breakcore with all fanciful elements torched in the incinerator. All that's left is womping bass, screeching feedback and piercing snare rushes - and honestly, that's all we need. And If you're looking for more psychedelic gear, the title track rumbles off the grid like a runaway train, lurching between expertly engineered, distorted shrieks.
'ash' is relatively brief, but Purgas and Ginzburg achieve something quite remarkable, re-examining their early work to consider what they might have done differently had they possessed the experience and technical expertise they've refined in the last couple of decades. The result is so oversized and physically obnoxious it'd challenge The Bug's loudest belters, and so rhythmically confounding you'll be unraveling it for weeks.
180 gram, full colour sleeve
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Emptyset go back in order to move forwards on 'ash', their most ear-pummeling release to date, and their most beat-heavy since 2013's Raster Noton-released 'Recur'. Heavily spacialized and rough with analog grit, 'ash' is scientifically engineered body music that sounds like a busted jet engine playing to itself in a dark warehouse - properly crushing gear.
It's easy to forget that while Paul Purgas and James Ginzburg are best known for making electrically-charged beat music, their last few records have eschewed conventional structure in favor of algorithmic experimentation and instrumental exploration. 'ash' is a return to the roots of the project, penned over the last couple of years and finally assembled in Bristol, where Emptyset was conceived almost two decades ago. Gone are the lengthy, textural workouts, replaced by short, sharp, pressurized cuts that redraw the borders of dance music.
'flint' sounds like a dissociative episode in a meat locker, a wall of over-saturated feedback that eventually buckles when it catches a loping, irregular beat. Purgas and Ginzburg keep control of the rhythm, but refuse to let it cement into a discernible form, liquifying it whenever necessary. 'flame' is more structured, a regrouping of DJ Scud's blown-out breakcore with all fanciful elements torched in the incinerator. All that's left is womping bass, screeching feedback and piercing snare rushes - and honestly, that's all we need. And If you're looking for more psychedelic gear, the title track rumbles off the grid like a runaway train, lurching between expertly engineered, distorted shrieks.
'ash' is relatively brief, but Purgas and Ginzburg achieve something quite remarkable, re-examining their early work to consider what they might have done differently had they possessed the experience and technical expertise they've refined in the last couple of decades. The result is so oversized and physically obnoxious it'd challenge The Bug's loudest belters, and so rhythmically confounding you'll be unraveling it for weeks.