Currently in a golden phase of experimentalism, Vladislav Delay plays to his elemental, ragged, atonal side on a punch drunk two parter
Issued in parallel to his ongoing, fractal decimations of footwork and rave as Dance Classics, which is also on its 4th EP, Sasu Ripatti reserves his more unruly work to the Vladislav Delay alias. While the two projecst share a fascination with sloshing meter, his VD works keep in pursuit of his dub fascinations with unique results, practically dragging kicks by their feet thru sludge and thistles to queasily ecstatic ends on ‘Death of a Bassdrum’, and then performing autopsy on the remains in reverberating warehouse settings on ‘Post-Mortem’, with particular attention to head-squeezing, air-shaking compressions that are best felt when it all collapses to near silence and returns to bury soundboys in atonality.
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Currently in a golden phase of experimentalism, Vladislav Delay plays to his elemental, ragged, atonal side on a punch drunk two parter
Issued in parallel to his ongoing, fractal decimations of footwork and rave as Dance Classics, which is also on its 4th EP, Sasu Ripatti reserves his more unruly work to the Vladislav Delay alias. While the two projecst share a fascination with sloshing meter, his VD works keep in pursuit of his dub fascinations with unique results, practically dragging kicks by their feet thru sludge and thistles to queasily ecstatic ends on ‘Death of a Bassdrum’, and then performing autopsy on the remains in reverberating warehouse settings on ‘Post-Mortem’, with particular attention to head-squeezing, air-shaking compressions that are best felt when it all collapses to near silence and returns to bury soundboys in atonality.
Currently in a golden phase of experimentalism, Vladislav Delay plays to his elemental, ragged, atonal side on a punch drunk two parter
Issued in parallel to his ongoing, fractal decimations of footwork and rave as Dance Classics, which is also on its 4th EP, Sasu Ripatti reserves his more unruly work to the Vladislav Delay alias. While the two projecst share a fascination with sloshing meter, his VD works keep in pursuit of his dub fascinations with unique results, practically dragging kicks by their feet thru sludge and thistles to queasily ecstatic ends on ‘Death of a Bassdrum’, and then performing autopsy on the remains in reverberating warehouse settings on ‘Post-Mortem’, with particular attention to head-squeezing, air-shaking compressions that are best felt when it all collapses to near silence and returns to bury soundboys in atonality.
Currently in a golden phase of experimentalism, Vladislav Delay plays to his elemental, ragged, atonal side on a punch drunk two parter
Issued in parallel to his ongoing, fractal decimations of footwork and rave as Dance Classics, which is also on its 4th EP, Sasu Ripatti reserves his more unruly work to the Vladislav Delay alias. While the two projecst share a fascination with sloshing meter, his VD works keep in pursuit of his dub fascinations with unique results, practically dragging kicks by their feet thru sludge and thistles to queasily ecstatic ends on ‘Death of a Bassdrum’, and then performing autopsy on the remains in reverberating warehouse settings on ‘Post-Mortem’, with particular attention to head-squeezing, air-shaking compressions that are best felt when it all collapses to near silence and returns to bury soundboys in atonality.
Edition of 500 copies. 45 rpm.
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Currently in a golden phase of experimentalism, Vladislav Delay plays to his elemental, ragged, atonal side on a punch drunk two parter
Issued in parallel to his ongoing, fractal decimations of footwork and rave as Dance Classics, which is also on its 4th EP, Sasu Ripatti reserves his more unruly work to the Vladislav Delay alias. While the two projecst share a fascination with sloshing meter, his VD works keep in pursuit of his dub fascinations with unique results, practically dragging kicks by their feet thru sludge and thistles to queasily ecstatic ends on ‘Death of a Bassdrum’, and then performing autopsy on the remains in reverberating warehouse settings on ‘Post-Mortem’, with particular attention to head-squeezing, air-shaking compressions that are best felt when it all collapses to near silence and returns to bury soundboys in atonality.