Standout album of proper, post-apocalyptic Aussie synth doom and cranky industrial club musick by Collector, picked up by the ever-reliable BANK Records NYC - RIYL Mad Max, Nick Klein, E-Saggila, Hiro Kone.
Ruggedly advancing on a mean reputation built via globally issued releases for Scotland’s Clan Destine and US label Night People, and closer to home for Steel City Dance Discs, ’No Prospects’ firms up Jason Campbell aka Collector’s feelings on the death of local industry thru a prism of hardware-hewn electronics shaped into a bleakly evocative instrumental narrative that conjures images of rusted heavy machinery and mullered psychos with mullets.
Naturally taking to the broader album canvas after a decade of shorter form works, Collector spleens on the death of Newcastle’s steel industry, which, like the UK’s, would fall victim to the artificially-suppressed prices of cheap Chinese steel by end of the millennium. Entwining a mix of field recordings of said industry, with original synthesis and manacled grasp of body musick, they obliquely nod to the hard bitten aesthetics of legendary local label Bloody Fist Records and the dread-fuelled tension of Mad Max soundtracks as much as the contemporary international industrial sound in thoroughly gripping album that balances atmospheric pressure with pendulous slow-motion industrial, and rollicking, hectic variants bound to demolish the right clubs.
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Standout album of proper, post-apocalyptic Aussie synth doom and cranky industrial club musick by Collector, picked up by the ever-reliable BANK Records NYC - RIYL Mad Max, Nick Klein, E-Saggila, Hiro Kone.
Ruggedly advancing on a mean reputation built via globally issued releases for Scotland’s Clan Destine and US label Night People, and closer to home for Steel City Dance Discs, ’No Prospects’ firms up Jason Campbell aka Collector’s feelings on the death of local industry thru a prism of hardware-hewn electronics shaped into a bleakly evocative instrumental narrative that conjures images of rusted heavy machinery and mullered psychos with mullets.
Naturally taking to the broader album canvas after a decade of shorter form works, Collector spleens on the death of Newcastle’s steel industry, which, like the UK’s, would fall victim to the artificially-suppressed prices of cheap Chinese steel by end of the millennium. Entwining a mix of field recordings of said industry, with original synthesis and manacled grasp of body musick, they obliquely nod to the hard bitten aesthetics of legendary local label Bloody Fist Records and the dread-fuelled tension of Mad Max soundtracks as much as the contemporary international industrial sound in thoroughly gripping album that balances atmospheric pressure with pendulous slow-motion industrial, and rollicking, hectic variants bound to demolish the right clubs.
Standout album of proper, post-apocalyptic Aussie synth doom and cranky industrial club musick by Collector, picked up by the ever-reliable BANK Records NYC - RIYL Mad Max, Nick Klein, E-Saggila, Hiro Kone.
Ruggedly advancing on a mean reputation built via globally issued releases for Scotland’s Clan Destine and US label Night People, and closer to home for Steel City Dance Discs, ’No Prospects’ firms up Jason Campbell aka Collector’s feelings on the death of local industry thru a prism of hardware-hewn electronics shaped into a bleakly evocative instrumental narrative that conjures images of rusted heavy machinery and mullered psychos with mullets.
Naturally taking to the broader album canvas after a decade of shorter form works, Collector spleens on the death of Newcastle’s steel industry, which, like the UK’s, would fall victim to the artificially-suppressed prices of cheap Chinese steel by end of the millennium. Entwining a mix of field recordings of said industry, with original synthesis and manacled grasp of body musick, they obliquely nod to the hard bitten aesthetics of legendary local label Bloody Fist Records and the dread-fuelled tension of Mad Max soundtracks as much as the contemporary international industrial sound in thoroughly gripping album that balances atmospheric pressure with pendulous slow-motion industrial, and rollicking, hectic variants bound to demolish the right clubs.
Standout album of proper, post-apocalyptic Aussie synth doom and cranky industrial club musick by Collector, picked up by the ever-reliable BANK Records NYC - RIYL Mad Max, Nick Klein, E-Saggila, Hiro Kone.
Ruggedly advancing on a mean reputation built via globally issued releases for Scotland’s Clan Destine and US label Night People, and closer to home for Steel City Dance Discs, ’No Prospects’ firms up Jason Campbell aka Collector’s feelings on the death of local industry thru a prism of hardware-hewn electronics shaped into a bleakly evocative instrumental narrative that conjures images of rusted heavy machinery and mullered psychos with mullets.
Naturally taking to the broader album canvas after a decade of shorter form works, Collector spleens on the death of Newcastle’s steel industry, which, like the UK’s, would fall victim to the artificially-suppressed prices of cheap Chinese steel by end of the millennium. Entwining a mix of field recordings of said industry, with original synthesis and manacled grasp of body musick, they obliquely nod to the hard bitten aesthetics of legendary local label Bloody Fist Records and the dread-fuelled tension of Mad Max soundtracks as much as the contemporary international industrial sound in thoroughly gripping album that balances atmospheric pressure with pendulous slow-motion industrial, and rollicking, hectic variants bound to demolish the right clubs.
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Standout album of proper, post-apocalyptic Aussie synth doom and cranky industrial club musick by Collector, picked up by the ever-reliable BANK Records NYC - RIYL Mad Max, Nick Klein, E-Saggila, Hiro Kone.
Ruggedly advancing on a mean reputation built via globally issued releases for Scotland’s Clan Destine and US label Night People, and closer to home for Steel City Dance Discs, ’No Prospects’ firms up Jason Campbell aka Collector’s feelings on the death of local industry thru a prism of hardware-hewn electronics shaped into a bleakly evocative instrumental narrative that conjures images of rusted heavy machinery and mullered psychos with mullets.
Naturally taking to the broader album canvas after a decade of shorter form works, Collector spleens on the death of Newcastle’s steel industry, which, like the UK’s, would fall victim to the artificially-suppressed prices of cheap Chinese steel by end of the millennium. Entwining a mix of field recordings of said industry, with original synthesis and manacled grasp of body musick, they obliquely nod to the hard bitten aesthetics of legendary local label Bloody Fist Records and the dread-fuelled tension of Mad Max soundtracks as much as the contemporary international industrial sound in thoroughly gripping album that balances atmospheric pressure with pendulous slow-motion industrial, and rollicking, hectic variants bound to demolish the right clubs.