VTSS diversifies bonds into mutant club styles, from panel-beaten dembow to congo tekno bone-rattlers and slow/fast dancehall rudeness, on her debut for Nina Tune’s Technicolour
Moving in parallel to Blawan’s recent embrace of wonk and syncopation, VTSS comes from unpredictable screwball angles on ‘Projections’ with six unruly and heavy-duty prangers. The switch from rote 4/4 to more wayward meters can perhaps be partly explained by her move from the straightjacketed Berlin techno scene to London’s palimpsest of style and pattern during lockdown.
The prevailing grip of reggaeton’s dembow rhythms informs her lead cut’s churn of beatdown and breakcore shrapnel, and with wormier effect in the old skool Bogdan Raczynski flex of ‘Trust Me’, while the nimbler congo tekno impulses of ‘For your safety’ surely nod to Nkisi. ‘Live Laugh Leave’ throws down something like a spannered Somatic Responses lash out, and ‘Propaganda of success’ turns up the gabber kicks, with the whirring mechanics of ‘Why we don’t deserve nice things’ finding a balance of sawn-off baroque licks and nervy dream programming.
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VTSS diversifies bonds into mutant club styles, from panel-beaten dembow to congo tekno bone-rattlers and slow/fast dancehall rudeness, on her debut for Nina Tune’s Technicolour
Moving in parallel to Blawan’s recent embrace of wonk and syncopation, VTSS comes from unpredictable screwball angles on ‘Projections’ with six unruly and heavy-duty prangers. The switch from rote 4/4 to more wayward meters can perhaps be partly explained by her move from the straightjacketed Berlin techno scene to London’s palimpsest of style and pattern during lockdown.
The prevailing grip of reggaeton’s dembow rhythms informs her lead cut’s churn of beatdown and breakcore shrapnel, and with wormier effect in the old skool Bogdan Raczynski flex of ‘Trust Me’, while the nimbler congo tekno impulses of ‘For your safety’ surely nod to Nkisi. ‘Live Laugh Leave’ throws down something like a spannered Somatic Responses lash out, and ‘Propaganda of success’ turns up the gabber kicks, with the whirring mechanics of ‘Why we don’t deserve nice things’ finding a balance of sawn-off baroque licks and nervy dream programming.
VTSS diversifies bonds into mutant club styles, from panel-beaten dembow to congo tekno bone-rattlers and slow/fast dancehall rudeness, on her debut for Nina Tune’s Technicolour
Moving in parallel to Blawan’s recent embrace of wonk and syncopation, VTSS comes from unpredictable screwball angles on ‘Projections’ with six unruly and heavy-duty prangers. The switch from rote 4/4 to more wayward meters can perhaps be partly explained by her move from the straightjacketed Berlin techno scene to London’s palimpsest of style and pattern during lockdown.
The prevailing grip of reggaeton’s dembow rhythms informs her lead cut’s churn of beatdown and breakcore shrapnel, and with wormier effect in the old skool Bogdan Raczynski flex of ‘Trust Me’, while the nimbler congo tekno impulses of ‘For your safety’ surely nod to Nkisi. ‘Live Laugh Leave’ throws down something like a spannered Somatic Responses lash out, and ‘Propaganda of success’ turns up the gabber kicks, with the whirring mechanics of ‘Why we don’t deserve nice things’ finding a balance of sawn-off baroque licks and nervy dream programming.
VTSS diversifies bonds into mutant club styles, from panel-beaten dembow to congo tekno bone-rattlers and slow/fast dancehall rudeness, on her debut for Nina Tune’s Technicolour
Moving in parallel to Blawan’s recent embrace of wonk and syncopation, VTSS comes from unpredictable screwball angles on ‘Projections’ with six unruly and heavy-duty prangers. The switch from rote 4/4 to more wayward meters can perhaps be partly explained by her move from the straightjacketed Berlin techno scene to London’s palimpsest of style and pattern during lockdown.
The prevailing grip of reggaeton’s dembow rhythms informs her lead cut’s churn of beatdown and breakcore shrapnel, and with wormier effect in the old skool Bogdan Raczynski flex of ‘Trust Me’, while the nimbler congo tekno impulses of ‘For your safety’ surely nod to Nkisi. ‘Live Laugh Leave’ throws down something like a spannered Somatic Responses lash out, and ‘Propaganda of success’ turns up the gabber kicks, with the whirring mechanics of ‘Why we don’t deserve nice things’ finding a balance of sawn-off baroque licks and nervy dream programming.
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VTSS diversifies bonds into mutant club styles, from panel-beaten dembow to congo tekno bone-rattlers and slow/fast dancehall rudeness, on her debut for Nina Tune’s Technicolour
Moving in parallel to Blawan’s recent embrace of wonk and syncopation, VTSS comes from unpredictable screwball angles on ‘Projections’ with six unruly and heavy-duty prangers. The switch from rote 4/4 to more wayward meters can perhaps be partly explained by her move from the straightjacketed Berlin techno scene to London’s palimpsest of style and pattern during lockdown.
The prevailing grip of reggaeton’s dembow rhythms informs her lead cut’s churn of beatdown and breakcore shrapnel, and with wormier effect in the old skool Bogdan Raczynski flex of ‘Trust Me’, while the nimbler congo tekno impulses of ‘For your safety’ surely nod to Nkisi. ‘Live Laugh Leave’ throws down something like a spannered Somatic Responses lash out, and ‘Propaganda of success’ turns up the gabber kicks, with the whirring mechanics of ‘Why we don’t deserve nice things’ finding a balance of sawn-off baroque licks and nervy dream programming.