Scotch Rolex & Shackleton
Death by Tickling
Boomkat Product Review:
Berlin spars and soundsystem vets Scotch Rolex (aka DJ Scotch Egg, aka Shigeru Ishihara) and Sam Shackleton team up for a suite of shamanic, cross-genre bass mutations. Lysergic xenharmonic wobblers fer dream states.
Sharing a studio in Berlin, Shackleton and Ishihara's collaboration was only a matter of time. The two are both masters of their respective crafts; Ishihara has been prolific since his days hammering together barbed breakcore jammers for Brighton's Wrong Music, recently bending his hand to fluxed collaborations with Nyege's MC Yallah and DUMA, while Shackleton has spent the last two decades shifting from ghosted dubstep into ritualistic, xenharmonic bass meditations that owe as much to Harry Partch as they do DMZ. Together they bring not just technical expertise but an unquenchable thirst for the new, using unusual rhythms and unfamiliar intonation to produce futuristic club music that lives and dies on huge, booming soundsystems.
'Death By Tickling' is rooted in bass music, but refuses to stick to any established modes. Shackleton's most recent material echoes dubstep and throbbing, soundsystem techno against an overlay of dancing microtonal twangs and undulating pulses. Ishihara's hours at the Nyege studio, meanwhile, are evidenced by his blocky polyrhythms, and while he's touched these elements before (particularly on 2021's 'Tewari'), here he really lets loose. The material is deliberately sparse, a muddle of ideas rather than muddy layers - something else that tells us they've been doing this for a while. 'The Blue Sun' is cosmic and practically horizontal, lying underneath the cybernetic gasps, gqom shakers and digitally clipped crumples, there's endless bass weight.
'Five Butterflies' is knottier, made from twanging strings that trade places with dissociated electronics, curling between the duo's steadily-shifting hand drum thuds. It's music that sounds as if it's lodged between worlds, twisting through the cosmos guided by ancestral rhythms. On 'Deliver the Soul' they splay their rhythms into splintered rolls and ballroom-like cracks, smudged with dizzy FM pads and disorienting, garbled vocals. 'Opium Vibration' continues the thread, weaving voices over the duo's fiery hodgepodge of acoustic and electronic drums, and turning chest-compressing subs and polyrhythms into a lulling, narcotic trance.
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Boomkat Product Review:
Berlin spars and soundsystem vets Scotch Rolex (aka DJ Scotch Egg, aka Shigeru Ishihara) and Sam Shackleton team up for a suite of shamanic, cross-genre bass mutations. Lysergic xenharmonic wobblers fer dream states.
Sharing a studio in Berlin, Shackleton and Ishihara's collaboration was only a matter of time. The two are both masters of their respective crafts; Ishihara has been prolific since his days hammering together barbed breakcore jammers for Brighton's Wrong Music, recently bending his hand to fluxed collaborations with Nyege's MC Yallah and DUMA, while Shackleton has spent the last two decades shifting from ghosted dubstep into ritualistic, xenharmonic bass meditations that owe as much to Harry Partch as they do DMZ. Together they bring not just technical expertise but an unquenchable thirst for the new, using unusual rhythms and unfamiliar intonation to produce futuristic club music that lives and dies on huge, booming soundsystems.
'Death By Tickling' is rooted in bass music, but refuses to stick to any established modes. Shackleton's most recent material echoes dubstep and throbbing, soundsystem techno against an overlay of dancing microtonal twangs and undulating pulses. Ishihara's hours at the Nyege studio, meanwhile, are evidenced by his blocky polyrhythms, and while he's touched these elements before (particularly on 2021's 'Tewari'), here he really lets loose. The material is deliberately sparse, a muddle of ideas rather than muddy layers - something else that tells us they've been doing this for a while. 'The Blue Sun' is cosmic and practically horizontal, lying underneath the cybernetic gasps, gqom shakers and digitally clipped crumples, there's endless bass weight.
'Five Butterflies' is knottier, made from twanging strings that trade places with dissociated electronics, curling between the duo's steadily-shifting hand drum thuds. It's music that sounds as if it's lodged between worlds, twisting through the cosmos guided by ancestral rhythms. On 'Deliver the Soul' they splay their rhythms into splintered rolls and ballroom-like cracks, smudged with dizzy FM pads and disorienting, garbled vocals. 'Opium Vibration' continues the thread, weaving voices over the duo's fiery hodgepodge of acoustic and electronic drums, and turning chest-compressing subs and polyrhythms into a lulling, narcotic trance.
Boomkat Product Review:
Berlin spars and soundsystem vets Scotch Rolex (aka DJ Scotch Egg, aka Shigeru Ishihara) and Sam Shackleton team up for a suite of shamanic, cross-genre bass mutations. Lysergic xenharmonic wobblers fer dream states.
Sharing a studio in Berlin, Shackleton and Ishihara's collaboration was only a matter of time. The two are both masters of their respective crafts; Ishihara has been prolific since his days hammering together barbed breakcore jammers for Brighton's Wrong Music, recently bending his hand to fluxed collaborations with Nyege's MC Yallah and DUMA, while Shackleton has spent the last two decades shifting from ghosted dubstep into ritualistic, xenharmonic bass meditations that owe as much to Harry Partch as they do DMZ. Together they bring not just technical expertise but an unquenchable thirst for the new, using unusual rhythms and unfamiliar intonation to produce futuristic club music that lives and dies on huge, booming soundsystems.
'Death By Tickling' is rooted in bass music, but refuses to stick to any established modes. Shackleton's most recent material echoes dubstep and throbbing, soundsystem techno against an overlay of dancing microtonal twangs and undulating pulses. Ishihara's hours at the Nyege studio, meanwhile, are evidenced by his blocky polyrhythms, and while he's touched these elements before (particularly on 2021's 'Tewari'), here he really lets loose. The material is deliberately sparse, a muddle of ideas rather than muddy layers - something else that tells us they've been doing this for a while. 'The Blue Sun' is cosmic and practically horizontal, lying underneath the cybernetic gasps, gqom shakers and digitally clipped crumples, there's endless bass weight.
'Five Butterflies' is knottier, made from twanging strings that trade places with dissociated electronics, curling between the duo's steadily-shifting hand drum thuds. It's music that sounds as if it's lodged between worlds, twisting through the cosmos guided by ancestral rhythms. On 'Deliver the Soul' they splay their rhythms into splintered rolls and ballroom-like cracks, smudged with dizzy FM pads and disorienting, garbled vocals. 'Opium Vibration' continues the thread, weaving voices over the duo's fiery hodgepodge of acoustic and electronic drums, and turning chest-compressing subs and polyrhythms into a lulling, narcotic trance.
Boomkat Product Review:
Berlin spars and soundsystem vets Scotch Rolex (aka DJ Scotch Egg, aka Shigeru Ishihara) and Sam Shackleton team up for a suite of shamanic, cross-genre bass mutations. Lysergic xenharmonic wobblers fer dream states.
Sharing a studio in Berlin, Shackleton and Ishihara's collaboration was only a matter of time. The two are both masters of their respective crafts; Ishihara has been prolific since his days hammering together barbed breakcore jammers for Brighton's Wrong Music, recently bending his hand to fluxed collaborations with Nyege's MC Yallah and DUMA, while Shackleton has spent the last two decades shifting from ghosted dubstep into ritualistic, xenharmonic bass meditations that owe as much to Harry Partch as they do DMZ. Together they bring not just technical expertise but an unquenchable thirst for the new, using unusual rhythms and unfamiliar intonation to produce futuristic club music that lives and dies on huge, booming soundsystems.
'Death By Tickling' is rooted in bass music, but refuses to stick to any established modes. Shackleton's most recent material echoes dubstep and throbbing, soundsystem techno against an overlay of dancing microtonal twangs and undulating pulses. Ishihara's hours at the Nyege studio, meanwhile, are evidenced by his blocky polyrhythms, and while he's touched these elements before (particularly on 2021's 'Tewari'), here he really lets loose. The material is deliberately sparse, a muddle of ideas rather than muddy layers - something else that tells us they've been doing this for a while. 'The Blue Sun' is cosmic and practically horizontal, lying underneath the cybernetic gasps, gqom shakers and digitally clipped crumples, there's endless bass weight.
'Five Butterflies' is knottier, made from twanging strings that trade places with dissociated electronics, curling between the duo's steadily-shifting hand drum thuds. It's music that sounds as if it's lodged between worlds, twisting through the cosmos guided by ancestral rhythms. On 'Deliver the Soul' they splay their rhythms into splintered rolls and ballroom-like cracks, smudged with dizzy FM pads and disorienting, garbled vocals. 'Opium Vibration' continues the thread, weaving voices over the duo's fiery hodgepodge of acoustic and electronic drums, and turning chest-compressing subs and polyrhythms into a lulling, narcotic trance.
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