Shelley Parker churns up a strong mix of concrète and bass music styles in her ruffneck debut for Hessle Audio
Marking the final Hessle Audio 12” of 2018, Shelley synchs bare bones breaks with seismic subs and field recordings of Carnival and her work for choreography to serve a hyperrealistic sensation of London in flux.
From her construction site stepper ‘Red Cotton’, uncannily recalling Nomex & Scud’s ‘Piling Machine’ [1997], thru the spectral convolutions and ricocheting echoes of Notting Hill Carnival laced into ‘Angel Oak’, and the clash of smooth pads and bagging textures in ‘Masonry Pier’, Shelley’s soundsphere is impressively unique and subtly suggestive, while the remix finds Ploy bringing the groove forward with patented percussive chops and fine-tuned dancefloor suss.
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Shelley Parker churns up a strong mix of concrète and bass music styles in her ruffneck debut for Hessle Audio
Marking the final Hessle Audio 12” of 2018, Shelley synchs bare bones breaks with seismic subs and field recordings of Carnival and her work for choreography to serve a hyperrealistic sensation of London in flux.
From her construction site stepper ‘Red Cotton’, uncannily recalling Nomex & Scud’s ‘Piling Machine’ [1997], thru the spectral convolutions and ricocheting echoes of Notting Hill Carnival laced into ‘Angel Oak’, and the clash of smooth pads and bagging textures in ‘Masonry Pier’, Shelley’s soundsphere is impressively unique and subtly suggestive, while the remix finds Ploy bringing the groove forward with patented percussive chops and fine-tuned dancefloor suss.
Shelley Parker churns up a strong mix of concrète and bass music styles in her ruffneck debut for Hessle Audio
Marking the final Hessle Audio 12” of 2018, Shelley synchs bare bones breaks with seismic subs and field recordings of Carnival and her work for choreography to serve a hyperrealistic sensation of London in flux.
From her construction site stepper ‘Red Cotton’, uncannily recalling Nomex & Scud’s ‘Piling Machine’ [1997], thru the spectral convolutions and ricocheting echoes of Notting Hill Carnival laced into ‘Angel Oak’, and the clash of smooth pads and bagging textures in ‘Masonry Pier’, Shelley’s soundsphere is impressively unique and subtly suggestive, while the remix finds Ploy bringing the groove forward with patented percussive chops and fine-tuned dancefloor suss.
Shelley Parker churns up a strong mix of concrète and bass music styles in her ruffneck debut for Hessle Audio
Marking the final Hessle Audio 12” of 2018, Shelley synchs bare bones breaks with seismic subs and field recordings of Carnival and her work for choreography to serve a hyperrealistic sensation of London in flux.
From her construction site stepper ‘Red Cotton’, uncannily recalling Nomex & Scud’s ‘Piling Machine’ [1997], thru the spectral convolutions and ricocheting echoes of Notting Hill Carnival laced into ‘Angel Oak’, and the clash of smooth pads and bagging textures in ‘Masonry Pier’, Shelley’s soundsphere is impressively unique and subtly suggestive, while the remix finds Ploy bringing the groove forward with patented percussive chops and fine-tuned dancefloor suss.
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Shelley Parker churns up a strong mix of concrète and bass music styles in her ruffneck debut for Hessle Audio
Marking the final Hessle Audio 12” of 2018, Shelley synchs bare bones breaks with seismic subs and field recordings of Carnival and her work for choreography to serve a hyperrealistic sensation of London in flux.
From her construction site stepper ‘Red Cotton’, uncannily recalling Nomex & Scud’s ‘Piling Machine’ [1997], thru the spectral convolutions and ricocheting echoes of Notting Hill Carnival laced into ‘Angel Oak’, and the clash of smooth pads and bagging textures in ‘Masonry Pier’, Shelley’s soundsphere is impressively unique and subtly suggestive, while the remix finds Ploy bringing the groove forward with patented percussive chops and fine-tuned dancefloor suss.