Impressive 3rd album from Ali Wells’ Perc project, diversifying his techno bonds along temporal, textural and spatial vectors by working influence from instrumental avant-garde composition, flashcore and ambient electronics into his rugged dancefloor structures.
Much more than a butcher’s tray of industrial bone ends, Bitter Music feels like a proper artist statement from an artist who has finer realised how to incorporate all the things he’s into whilst remaining true to his now, hard-worked sound.
The noisy, techngostic bookends of Exit and After Ball are comparable with strong aspects of Kraftwerk and Prurient as much as The Sprawl, whilst the body of the album smartly oscillates between chest-quaking kickers such as Unelected, the distended knocks of Chatter, and some proper lamping gear in Look At What Your Love Has Done To Me via canny insights to his esoteric side with the Dockstader-esque concrete clangour of Wax Apple and an ace sample of British pop artist Peter Blake in I Just Can’t Win, with a serious, prang out peak reserved for the speedcore pounding of Spit, just in case you were getting disorientated by the more abstract aspects.
Ace.
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Impressive 3rd album from Ali Wells’ Perc project, diversifying his techno bonds along temporal, textural and spatial vectors by working influence from instrumental avant-garde composition, flashcore and ambient electronics into his rugged dancefloor structures.
Much more than a butcher’s tray of industrial bone ends, Bitter Music feels like a proper artist statement from an artist who has finer realised how to incorporate all the things he’s into whilst remaining true to his now, hard-worked sound.
The noisy, techngostic bookends of Exit and After Ball are comparable with strong aspects of Kraftwerk and Prurient as much as The Sprawl, whilst the body of the album smartly oscillates between chest-quaking kickers such as Unelected, the distended knocks of Chatter, and some proper lamping gear in Look At What Your Love Has Done To Me via canny insights to his esoteric side with the Dockstader-esque concrete clangour of Wax Apple and an ace sample of British pop artist Peter Blake in I Just Can’t Win, with a serious, prang out peak reserved for the speedcore pounding of Spit, just in case you were getting disorientated by the more abstract aspects.
Ace.
Impressive 3rd album from Ali Wells’ Perc project, diversifying his techno bonds along temporal, textural and spatial vectors by working influence from instrumental avant-garde composition, flashcore and ambient electronics into his rugged dancefloor structures.
Much more than a butcher’s tray of industrial bone ends, Bitter Music feels like a proper artist statement from an artist who has finer realised how to incorporate all the things he’s into whilst remaining true to his now, hard-worked sound.
The noisy, techngostic bookends of Exit and After Ball are comparable with strong aspects of Kraftwerk and Prurient as much as The Sprawl, whilst the body of the album smartly oscillates between chest-quaking kickers such as Unelected, the distended knocks of Chatter, and some proper lamping gear in Look At What Your Love Has Done To Me via canny insights to his esoteric side with the Dockstader-esque concrete clangour of Wax Apple and an ace sample of British pop artist Peter Blake in I Just Can’t Win, with a serious, prang out peak reserved for the speedcore pounding of Spit, just in case you were getting disorientated by the more abstract aspects.
Ace.
Impressive 3rd album from Ali Wells’ Perc project, diversifying his techno bonds along temporal, textural and spatial vectors by working influence from instrumental avant-garde composition, flashcore and ambient electronics into his rugged dancefloor structures.
Much more than a butcher’s tray of industrial bone ends, Bitter Music feels like a proper artist statement from an artist who has finer realised how to incorporate all the things he’s into whilst remaining true to his now, hard-worked sound.
The noisy, techngostic bookends of Exit and After Ball are comparable with strong aspects of Kraftwerk and Prurient as much as The Sprawl, whilst the body of the album smartly oscillates between chest-quaking kickers such as Unelected, the distended knocks of Chatter, and some proper lamping gear in Look At What Your Love Has Done To Me via canny insights to his esoteric side with the Dockstader-esque concrete clangour of Wax Apple and an ace sample of British pop artist Peter Blake in I Just Can’t Win, with a serious, prang out peak reserved for the speedcore pounding of Spit, just in case you were getting disorientated by the more abstract aspects.
Ace.