Georgia's Justin Tripp arrives on Haunter on a mission to bury errant rhythms in tape hiss and murk, hiding vocals beneath ominous drones. Dubbed out industrial weirdness >> RIYL Porter Ricks, Black To Comm, Equiknoxx.
US underground mainstay Justin Tripp has been involved in more projects than most manage in a lifetime. Most visibly he's one half of Georgia, the NYC duo who've cobbled together noisy outsider dancefloor material for labels like YOUTH, Métron and Firecracker. On "Lethe", Tripp reduces the volume and relaxes the focus; immediately on 'Nox' there's a sense that a uniform rhythm might derail everything. He cuts through a dense fog of cinematic drone, eventually introducing a beat that's so inverted it's barely present at all. 'Another's Concept' isn't any easier to unravel, and the rhythm makes no more logical sense - here Tripp allows it to tick like an errant clock over the sound of broken machinery, before a voice starts wailing in the distance. It's industrial music, with as much in common as Lynch's head-mangling "Eraserhead" soundtrack as anything from the last few years.
'H.F. Damping' is a stand-out, a processed chunk of sub-aquatic dub techno that feels stylistically in line with Porter Ricks' latter day Tresor material, albeit with a slightly lighter hearted edge. It's hard to believe that Tripp has generated all the material simply from samples and a single piece of outboard gear. There's no shortage of texture and nothing sounds sampled, nothing sounds looped; 'K:1 Mode' is particularly impressive, coiling like a warped dancehall fever dream, or The Bug at a low volume (or a few streets over) or perhaps Equiknoxx dubbed to worn-out C120 cassette. Constantly engaging stuff - highly recommended.
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Georgia's Justin Tripp arrives on Haunter on a mission to bury errant rhythms in tape hiss and murk, hiding vocals beneath ominous drones. Dubbed out industrial weirdness >> RIYL Porter Ricks, Black To Comm, Equiknoxx.
US underground mainstay Justin Tripp has been involved in more projects than most manage in a lifetime. Most visibly he's one half of Georgia, the NYC duo who've cobbled together noisy outsider dancefloor material for labels like YOUTH, Métron and Firecracker. On "Lethe", Tripp reduces the volume and relaxes the focus; immediately on 'Nox' there's a sense that a uniform rhythm might derail everything. He cuts through a dense fog of cinematic drone, eventually introducing a beat that's so inverted it's barely present at all. 'Another's Concept' isn't any easier to unravel, and the rhythm makes no more logical sense - here Tripp allows it to tick like an errant clock over the sound of broken machinery, before a voice starts wailing in the distance. It's industrial music, with as much in common as Lynch's head-mangling "Eraserhead" soundtrack as anything from the last few years.
'H.F. Damping' is a stand-out, a processed chunk of sub-aquatic dub techno that feels stylistically in line with Porter Ricks' latter day Tresor material, albeit with a slightly lighter hearted edge. It's hard to believe that Tripp has generated all the material simply from samples and a single piece of outboard gear. There's no shortage of texture and nothing sounds sampled, nothing sounds looped; 'K:1 Mode' is particularly impressive, coiling like a warped dancehall fever dream, or The Bug at a low volume (or a few streets over) or perhaps Equiknoxx dubbed to worn-out C120 cassette. Constantly engaging stuff - highly recommended.
Georgia's Justin Tripp arrives on Haunter on a mission to bury errant rhythms in tape hiss and murk, hiding vocals beneath ominous drones. Dubbed out industrial weirdness >> RIYL Porter Ricks, Black To Comm, Equiknoxx.
US underground mainstay Justin Tripp has been involved in more projects than most manage in a lifetime. Most visibly he's one half of Georgia, the NYC duo who've cobbled together noisy outsider dancefloor material for labels like YOUTH, Métron and Firecracker. On "Lethe", Tripp reduces the volume and relaxes the focus; immediately on 'Nox' there's a sense that a uniform rhythm might derail everything. He cuts through a dense fog of cinematic drone, eventually introducing a beat that's so inverted it's barely present at all. 'Another's Concept' isn't any easier to unravel, and the rhythm makes no more logical sense - here Tripp allows it to tick like an errant clock over the sound of broken machinery, before a voice starts wailing in the distance. It's industrial music, with as much in common as Lynch's head-mangling "Eraserhead" soundtrack as anything from the last few years.
'H.F. Damping' is a stand-out, a processed chunk of sub-aquatic dub techno that feels stylistically in line with Porter Ricks' latter day Tresor material, albeit with a slightly lighter hearted edge. It's hard to believe that Tripp has generated all the material simply from samples and a single piece of outboard gear. There's no shortage of texture and nothing sounds sampled, nothing sounds looped; 'K:1 Mode' is particularly impressive, coiling like a warped dancehall fever dream, or The Bug at a low volume (or a few streets over) or perhaps Equiknoxx dubbed to worn-out C120 cassette. Constantly engaging stuff - highly recommended.
Georgia's Justin Tripp arrives on Haunter on a mission to bury errant rhythms in tape hiss and murk, hiding vocals beneath ominous drones. Dubbed out industrial weirdness >> RIYL Porter Ricks, Black To Comm, Equiknoxx.
US underground mainstay Justin Tripp has been involved in more projects than most manage in a lifetime. Most visibly he's one half of Georgia, the NYC duo who've cobbled together noisy outsider dancefloor material for labels like YOUTH, Métron and Firecracker. On "Lethe", Tripp reduces the volume and relaxes the focus; immediately on 'Nox' there's a sense that a uniform rhythm might derail everything. He cuts through a dense fog of cinematic drone, eventually introducing a beat that's so inverted it's barely present at all. 'Another's Concept' isn't any easier to unravel, and the rhythm makes no more logical sense - here Tripp allows it to tick like an errant clock over the sound of broken machinery, before a voice starts wailing in the distance. It's industrial music, with as much in common as Lynch's head-mangling "Eraserhead" soundtrack as anything from the last few years.
'H.F. Damping' is a stand-out, a processed chunk of sub-aquatic dub techno that feels stylistically in line with Porter Ricks' latter day Tresor material, albeit with a slightly lighter hearted edge. It's hard to believe that Tripp has generated all the material simply from samples and a single piece of outboard gear. There's no shortage of texture and nothing sounds sampled, nothing sounds looped; 'K:1 Mode' is particularly impressive, coiling like a warped dancehall fever dream, or The Bug at a low volume (or a few streets over) or perhaps Equiknoxx dubbed to worn-out C120 cassette. Constantly engaging stuff - highly recommended.