Gescom’s no!ziest qunt makes a long overdue solo debut on Skam, via its Kasm division, with a typically cantankerous volley of modular scree and spark spitting machine rhythm for the headstrong.
Legendary heck-raiser Haswell cuts off some of his gnarliest for the 10” Skam series, which has previously hosted The Fear Ratio and Meat Beat Manifesto. Six parts extend a particularly fecund tear of Haswell tekkerz with inimitable doses of no!ze man-handled into club-adjacent shapes that roughly fit the Skam bill. It coincidentally, physically, firms up a long creative relationship with the Skam crew initiated by Russell’s release of Gescom’s groundbreaking ‘Minidisc’ on his OR label in 1998, and has seen him play a plethora of notorious live support slots for Autechre over the decades, most memorably for us at a WKD-steeped session in the bowels of The Printworks, Manchester for the ‘Quaristice’ tour.
So what the fuck does it sound like? For those without functioning ears and just killing time, it’s sort of equivalent to OD-ing on otex at a Bunker Records session whilst a Fight club of Japanese business-noise miscreants duke it out after too many Sake and surgical spirit cocktails, or something. There’s hardcore tekno heck in ‘tournament species’ and a killer ‘fractured bones’, and pure atonal astringents on ‘indirect reciprocity’, plus proper squirming malarky on ‘implicit vulnerability’, with some signature own-brand earfloss registered on ‘conclusion.’
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Gescom’s no!ziest qunt makes a long overdue solo debut on Skam, via its Kasm division, with a typically cantankerous volley of modular scree and spark spitting machine rhythm for the headstrong.
Legendary heck-raiser Haswell cuts off some of his gnarliest for the 10” Skam series, which has previously hosted The Fear Ratio and Meat Beat Manifesto. Six parts extend a particularly fecund tear of Haswell tekkerz with inimitable doses of no!ze man-handled into club-adjacent shapes that roughly fit the Skam bill. It coincidentally, physically, firms up a long creative relationship with the Skam crew initiated by Russell’s release of Gescom’s groundbreaking ‘Minidisc’ on his OR label in 1998, and has seen him play a plethora of notorious live support slots for Autechre over the decades, most memorably for us at a WKD-steeped session in the bowels of The Printworks, Manchester for the ‘Quaristice’ tour.
So what the fuck does it sound like? For those without functioning ears and just killing time, it’s sort of equivalent to OD-ing on otex at a Bunker Records session whilst a Fight club of Japanese business-noise miscreants duke it out after too many Sake and surgical spirit cocktails, or something. There’s hardcore tekno heck in ‘tournament species’ and a killer ‘fractured bones’, and pure atonal astringents on ‘indirect reciprocity’, plus proper squirming malarky on ‘implicit vulnerability’, with some signature own-brand earfloss registered on ‘conclusion.’
Gescom’s no!ziest qunt makes a long overdue solo debut on Skam, via its Kasm division, with a typically cantankerous volley of modular scree and spark spitting machine rhythm for the headstrong.
Legendary heck-raiser Haswell cuts off some of his gnarliest for the 10” Skam series, which has previously hosted The Fear Ratio and Meat Beat Manifesto. Six parts extend a particularly fecund tear of Haswell tekkerz with inimitable doses of no!ze man-handled into club-adjacent shapes that roughly fit the Skam bill. It coincidentally, physically, firms up a long creative relationship with the Skam crew initiated by Russell’s release of Gescom’s groundbreaking ‘Minidisc’ on his OR label in 1998, and has seen him play a plethora of notorious live support slots for Autechre over the decades, most memorably for us at a WKD-steeped session in the bowels of The Printworks, Manchester for the ‘Quaristice’ tour.
So what the fuck does it sound like? For those without functioning ears and just killing time, it’s sort of equivalent to OD-ing on otex at a Bunker Records session whilst a Fight club of Japanese business-noise miscreants duke it out after too many Sake and surgical spirit cocktails, or something. There’s hardcore tekno heck in ‘tournament species’ and a killer ‘fractured bones’, and pure atonal astringents on ‘indirect reciprocity’, plus proper squirming malarky on ‘implicit vulnerability’, with some signature own-brand earfloss registered on ‘conclusion.’
Gescom’s no!ziest qunt makes a long overdue solo debut on Skam, via its Kasm division, with a typically cantankerous volley of modular scree and spark spitting machine rhythm for the headstrong.
Legendary heck-raiser Haswell cuts off some of his gnarliest for the 10” Skam series, which has previously hosted The Fear Ratio and Meat Beat Manifesto. Six parts extend a particularly fecund tear of Haswell tekkerz with inimitable doses of no!ze man-handled into club-adjacent shapes that roughly fit the Skam bill. It coincidentally, physically, firms up a long creative relationship with the Skam crew initiated by Russell’s release of Gescom’s groundbreaking ‘Minidisc’ on his OR label in 1998, and has seen him play a plethora of notorious live support slots for Autechre over the decades, most memorably for us at a WKD-steeped session in the bowels of The Printworks, Manchester for the ‘Quaristice’ tour.
So what the fuck does it sound like? For those without functioning ears and just killing time, it’s sort of equivalent to OD-ing on otex at a Bunker Records session whilst a Fight club of Japanese business-noise miscreants duke it out after too many Sake and surgical spirit cocktails, or something. There’s hardcore tekno heck in ‘tournament species’ and a killer ‘fractured bones’, and pure atonal astringents on ‘indirect reciprocity’, plus proper squirming malarky on ‘implicit vulnerability’, with some signature own-brand earfloss registered on ‘conclusion.’
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Gescom’s no!ziest qunt makes a long overdue solo debut on Skam, via its Kasm division, with a typically cantankerous volley of modular scree and spark spitting machine rhythm for the headstrong.
Legendary heck-raiser Haswell cuts off some of his gnarliest for the 10” Skam series, which has previously hosted The Fear Ratio and Meat Beat Manifesto. Six parts extend a particularly fecund tear of Haswell tekkerz with inimitable doses of no!ze man-handled into club-adjacent shapes that roughly fit the Skam bill. It coincidentally, physically, firms up a long creative relationship with the Skam crew initiated by Russell’s release of Gescom’s groundbreaking ‘Minidisc’ on his OR label in 1998, and has seen him play a plethora of notorious live support slots for Autechre over the decades, most memorably for us at a WKD-steeped session in the bowels of The Printworks, Manchester for the ‘Quaristice’ tour.
So what the fuck does it sound like? For those without functioning ears and just killing time, it’s sort of equivalent to OD-ing on otex at a Bunker Records session whilst a Fight club of Japanese business-noise miscreants duke it out after too many Sake and surgical spirit cocktails, or something. There’s hardcore tekno heck in ‘tournament species’ and a killer ‘fractured bones’, and pure atonal astringents on ‘indirect reciprocity’, plus proper squirming malarky on ‘implicit vulnerability’, with some signature own-brand earfloss registered on ‘conclusion.’