Bruising tribal-industrial techno from Paula Temple on R&S, backed up with two remixes from Perc. This is Temple's first release under her own name in over a decade and, remarkably, the first ever R&S release by a female artist in its entire 30 year history; she pulls no punches with opener 'Colonized', which sits somewhere between the scrap-metal warehouse assault of Karenn or and J. Tijn and the hoovering Euro rave of early R&S. There’s a nice, cooing synth breakdown, but for the most part violence is the name of the game. Perc’s steals the show, however, with his two remixes of the track: they’re among his finest productions to date, doing away with superfluous elements and betting everything on a stripped-down, deadly effective chassis of rolling, anvil-heavy kicks, punctuated with shocks of noise and sicktone static. The other Temple originals are decent: ‘Cloned’’s is a kind of dystopian breakbeat garage puffed up for big rooms and ‘Decolonization’ is on a deeper, glitchy house tip.
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Bruising tribal-industrial techno from Paula Temple on R&S, backed up with two remixes from Perc. This is Temple's first release under her own name in over a decade and, remarkably, the first ever R&S release by a female artist in its entire 30 year history; she pulls no punches with opener 'Colonized', which sits somewhere between the scrap-metal warehouse assault of Karenn or and J. Tijn and the hoovering Euro rave of early R&S. There’s a nice, cooing synth breakdown, but for the most part violence is the name of the game. Perc’s steals the show, however, with his two remixes of the track: they’re among his finest productions to date, doing away with superfluous elements and betting everything on a stripped-down, deadly effective chassis of rolling, anvil-heavy kicks, punctuated with shocks of noise and sicktone static. The other Temple originals are decent: ‘Cloned’’s is a kind of dystopian breakbeat garage puffed up for big rooms and ‘Decolonization’ is on a deeper, glitchy house tip.
Bruising tribal-industrial techno from Paula Temple on R&S, backed up with two remixes from Perc. This is Temple's first release under her own name in over a decade and, remarkably, the first ever R&S release by a female artist in its entire 30 year history; she pulls no punches with opener 'Colonized', which sits somewhere between the scrap-metal warehouse assault of Karenn or and J. Tijn and the hoovering Euro rave of early R&S. There’s a nice, cooing synth breakdown, but for the most part violence is the name of the game. Perc’s steals the show, however, with his two remixes of the track: they’re among his finest productions to date, doing away with superfluous elements and betting everything on a stripped-down, deadly effective chassis of rolling, anvil-heavy kicks, punctuated with shocks of noise and sicktone static. The other Temple originals are decent: ‘Cloned’’s is a kind of dystopian breakbeat garage puffed up for big rooms and ‘Decolonization’ is on a deeper, glitchy house tip.
Bruising tribal-industrial techno from Paula Temple on R&S, backed up with two remixes from Perc. This is Temple's first release under her own name in over a decade and, remarkably, the first ever R&S release by a female artist in its entire 30 year history; she pulls no punches with opener 'Colonized', which sits somewhere between the scrap-metal warehouse assault of Karenn or and J. Tijn and the hoovering Euro rave of early R&S. There’s a nice, cooing synth breakdown, but for the most part violence is the name of the game. Perc’s steals the show, however, with his two remixes of the track: they’re among his finest productions to date, doing away with superfluous elements and betting everything on a stripped-down, deadly effective chassis of rolling, anvil-heavy kicks, punctuated with shocks of noise and sicktone static. The other Temple originals are decent: ‘Cloned’’s is a kind of dystopian breakbeat garage puffed up for big rooms and ‘Decolonization’ is on a deeper, glitchy house tip.