Misery Is a Communicable Disease
Vessel finally presents a follow-up to his unanimously acclaimed debut solo and Young Echo collective albums.
It's a hard step to the right for Liberation Technologies after avant-funk excursions with Powell and Mark Fell, steering into a more primal yet texturally satisfying sound that breaks down the wrought complexities of 'Order Of Noise' and reassembles them in three crooked, mutant constructions. Up top the title track comes off like a calcified, prototypical grime riddim written by Æ in the mid '90s; soaring Detroit synth harmonies evolve from a brittle-boned flux of delayed kicks and industrial ticks synched to swing.
Flipside, 'VMI' comes off like Jameszoo gone feral on an chemical industrial plant, meshing lysergic melodies and mutant, off-kilter groove in disused storage chamber reverbs, and 'Not For Design' marks itself out as the big club groove with throbbing, primal bass hook and infected computer melodies all scratched and sandpapered to rub 'em up the wrongest way.
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Vessel finally presents a follow-up to his unanimously acclaimed debut solo and Young Echo collective albums.
It's a hard step to the right for Liberation Technologies after avant-funk excursions with Powell and Mark Fell, steering into a more primal yet texturally satisfying sound that breaks down the wrought complexities of 'Order Of Noise' and reassembles them in three crooked, mutant constructions. Up top the title track comes off like a calcified, prototypical grime riddim written by Æ in the mid '90s; soaring Detroit synth harmonies evolve from a brittle-boned flux of delayed kicks and industrial ticks synched to swing.
Flipside, 'VMI' comes off like Jameszoo gone feral on an chemical industrial plant, meshing lysergic melodies and mutant, off-kilter groove in disused storage chamber reverbs, and 'Not For Design' marks itself out as the big club groove with throbbing, primal bass hook and infected computer melodies all scratched and sandpapered to rub 'em up the wrongest way.
Vessel finally presents a follow-up to his unanimously acclaimed debut solo and Young Echo collective albums.
It's a hard step to the right for Liberation Technologies after avant-funk excursions with Powell and Mark Fell, steering into a more primal yet texturally satisfying sound that breaks down the wrought complexities of 'Order Of Noise' and reassembles them in three crooked, mutant constructions. Up top the title track comes off like a calcified, prototypical grime riddim written by Æ in the mid '90s; soaring Detroit synth harmonies evolve from a brittle-boned flux of delayed kicks and industrial ticks synched to swing.
Flipside, 'VMI' comes off like Jameszoo gone feral on an chemical industrial plant, meshing lysergic melodies and mutant, off-kilter groove in disused storage chamber reverbs, and 'Not For Design' marks itself out as the big club groove with throbbing, primal bass hook and infected computer melodies all scratched and sandpapered to rub 'em up the wrongest way.
Vessel finally presents a follow-up to his unanimously acclaimed debut solo and Young Echo collective albums.
It's a hard step to the right for Liberation Technologies after avant-funk excursions with Powell and Mark Fell, steering into a more primal yet texturally satisfying sound that breaks down the wrought complexities of 'Order Of Noise' and reassembles them in three crooked, mutant constructions. Up top the title track comes off like a calcified, prototypical grime riddim written by Æ in the mid '90s; soaring Detroit synth harmonies evolve from a brittle-boned flux of delayed kicks and industrial ticks synched to swing.
Flipside, 'VMI' comes off like Jameszoo gone feral on an chemical industrial plant, meshing lysergic melodies and mutant, off-kilter groove in disused storage chamber reverbs, and 'Not For Design' marks itself out as the big club groove with throbbing, primal bass hook and infected computer melodies all scratched and sandpapered to rub 'em up the wrongest way.
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Vessel finally presents a follow-up to his unanimously acclaimed debut solo and Young Echo collective albums.
It's a hard step to the right for Liberation Technologies after avant-funk excursions with Powell and Mark Fell, steering into a more primal yet texturally satisfying sound that breaks down the wrought complexities of 'Order Of Noise' and reassembles them in three crooked, mutant constructions. Up top the title track comes off like a calcified, prototypical grime riddim written by Æ in the mid '90s; soaring Detroit synth harmonies evolve from a brittle-boned flux of delayed kicks and industrial ticks synched to swing.
Flipside, 'VMI' comes off like Jameszoo gone feral on an chemical industrial plant, meshing lysergic melodies and mutant, off-kilter groove in disused storage chamber reverbs, and 'Not For Design' marks itself out as the big club groove with throbbing, primal bass hook and infected computer melodies all scratched and sandpapered to rub 'em up the wrongest way.