HXE
INDS
Boomkat Product Review:
UIQ follows up the Zuli and Nkisi albums with a debut 10” of industro-dancehall pressure from London’s HXE (fka HEX), where mechanically reclaimed samples meet pum-pummelling bass and screeching vocaloids, to deadly effect.
Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in the space between sound designer techno, mutant Latinx styles, and polluted megatropolis vapour noise. Run out 3 years since the London-based duo’s debut with Liberation Technologies, the ‘INDS’ EP is loosely structured around the practice and aesthetics of modern, large scale industry. Its 4 tracks are brutalist in resolve and construction, but each derive a sense of (perhaps perverse) pleasure and sensuality from the warped virtual/physical tension and crunching industrial intensity of their sounds.
‘Rozay’ opens the A-side with an alarming sort of Industrial dancehall smackdown, all panic-station strings and pummelling, off-kilter bass with unyielding effect, while the reticulated writhe of ‘Worm’ synchs breathless synthetic gasps with mechanically reclaimed rhythm with ‘floor-flailing force, and ’Spill’ alternately sustains and vents the tension with lurching, gnashing dembow dynamics.
A fierce new addition to UIQ’s gang of dancefloor mutants.
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Boomkat Product Review:
UIQ follows up the Zuli and Nkisi albums with a debut 10” of industro-dancehall pressure from London’s HXE (fka HEX), where mechanically reclaimed samples meet pum-pummelling bass and screeching vocaloids, to deadly effect.
Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in the space between sound designer techno, mutant Latinx styles, and polluted megatropolis vapour noise. Run out 3 years since the London-based duo’s debut with Liberation Technologies, the ‘INDS’ EP is loosely structured around the practice and aesthetics of modern, large scale industry. Its 4 tracks are brutalist in resolve and construction, but each derive a sense of (perhaps perverse) pleasure and sensuality from the warped virtual/physical tension and crunching industrial intensity of their sounds.
‘Rozay’ opens the A-side with an alarming sort of Industrial dancehall smackdown, all panic-station strings and pummelling, off-kilter bass with unyielding effect, while the reticulated writhe of ‘Worm’ synchs breathless synthetic gasps with mechanically reclaimed rhythm with ‘floor-flailing force, and ’Spill’ alternately sustains and vents the tension with lurching, gnashing dembow dynamics.
A fierce new addition to UIQ’s gang of dancefloor mutants.
Boomkat Product Review:
UIQ follows up the Zuli and Nkisi albums with a debut 10” of industro-dancehall pressure from London’s HXE (fka HEX), where mechanically reclaimed samples meet pum-pummelling bass and screeching vocaloids, to deadly effect.
Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in the space between sound designer techno, mutant Latinx styles, and polluted megatropolis vapour noise. Run out 3 years since the London-based duo’s debut with Liberation Technologies, the ‘INDS’ EP is loosely structured around the practice and aesthetics of modern, large scale industry. Its 4 tracks are brutalist in resolve and construction, but each derive a sense of (perhaps perverse) pleasure and sensuality from the warped virtual/physical tension and crunching industrial intensity of their sounds.
‘Rozay’ opens the A-side with an alarming sort of Industrial dancehall smackdown, all panic-station strings and pummelling, off-kilter bass with unyielding effect, while the reticulated writhe of ‘Worm’ synchs breathless synthetic gasps with mechanically reclaimed rhythm with ‘floor-flailing force, and ’Spill’ alternately sustains and vents the tension with lurching, gnashing dembow dynamics.
A fierce new addition to UIQ’s gang of dancefloor mutants.
Boomkat Product Review:
UIQ follows up the Zuli and Nkisi albums with a debut 10” of industro-dancehall pressure from London’s HXE (fka HEX), where mechanically reclaimed samples meet pum-pummelling bass and screeching vocaloids, to deadly effect.
Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in the space between sound designer techno, mutant Latinx styles, and polluted megatropolis vapour noise. Run out 3 years since the London-based duo’s debut with Liberation Technologies, the ‘INDS’ EP is loosely structured around the practice and aesthetics of modern, large scale industry. Its 4 tracks are brutalist in resolve and construction, but each derive a sense of (perhaps perverse) pleasure and sensuality from the warped virtual/physical tension and crunching industrial intensity of their sounds.
‘Rozay’ opens the A-side with an alarming sort of Industrial dancehall smackdown, all panic-station strings and pummelling, off-kilter bass with unyielding effect, while the reticulated writhe of ‘Worm’ synchs breathless synthetic gasps with mechanically reclaimed rhythm with ‘floor-flailing force, and ’Spill’ alternately sustains and vents the tension with lurching, gnashing dembow dynamics.
A fierce new addition to UIQ’s gang of dancefloor mutants.
In Stock (Ready To Ship)
Limited 10” of industro-dancehall pressure from London’s HXE (fka HEX). Edition of 300 copies, with a download dropped to your account. Design by HXE and Dave Gaskarth
Boomkat Product Review:
UIQ follows up the Zuli and Nkisi albums with a debut 10” of industro-dancehall pressure from London’s HXE (fka HEX), where mechanically reclaimed samples meet pum-pummelling bass and screeching vocaloids, to deadly effect.
Lee Gamble signs up HXE (fka HEX) for a tightly coiled, hard-edged quartet of deco-rave recces in the space between sound designer techno, mutant Latinx styles, and polluted megatropolis vapour noise. Run out 3 years since the London-based duo’s debut with Liberation Technologies, the ‘INDS’ EP is loosely structured around the practice and aesthetics of modern, large scale industry. Its 4 tracks are brutalist in resolve and construction, but each derive a sense of (perhaps perverse) pleasure and sensuality from the warped virtual/physical tension and crunching industrial intensity of their sounds.
‘Rozay’ opens the A-side with an alarming sort of Industrial dancehall smackdown, all panic-station strings and pummelling, off-kilter bass with unyielding effect, while the reticulated writhe of ‘Worm’ synchs breathless synthetic gasps with mechanically reclaimed rhythm with ‘floor-flailing force, and ’Spill’ alternately sustains and vents the tension with lurching, gnashing dembow dynamics.
A fierce new addition to UIQ’s gang of dancefloor mutants.
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