Boomkat Product Review:
Mad lad Parisian, Emma DJ gets buckwild with a battery of skudged rave artillery for L.I.E.S. on the spurs of their UIQ and Youth shockouts
Where those preceding volleys bent between mutations of trap and singeli, this one’s gung ho for gnashing, panel-beaten industrial rhythm and noise. Definitely an album type of guy (this is Emma DJ’s 9th full solo LP since 2019), his off-the-cuff studio stuff clearly works best in a longer form context, giving nuff room for ideas to bifurcate, sprawl and congeal into these pranging, gristly club forms.
Frankly these are the most demented, decimated examples of Emma DJ’s now notorious production style, and reflective of the strangest corners his DJs sets are known to go. At times like a spiritual descendent of Maurizio Bianchi imitating trap, or at others like Alberich on a Gary and a wish, he runs ruffshod over gridlines and sensibilities from the skull-scrape tang of ‘Sad as Drugs’ to wiry acid dancehall-techno in ‘Subtitle’ like proper bad-headed beast, laying waste to dembow templates on ‘Good Booth’, coughing up BZMC-adjacent screwed & squirmed tekkerz on ‘Ferg’, and delivering bombed-out jigginess on ‘Aqua Frozen’ like a possessed I-Sound.