Romance in the Age of Adaptive Feedback
One of the finest 313-skooled acts not from Detroit, Unspecified Enemies do Motor City techno-electro-house with proper, pill-bellied and soulful finesse on a superb and definitive side for Glasgow powerhouse Numbers.
Beloved for inclusion on DJ Bone’s mixtape masterclass ‘Subject: Detroit 2’ in 2000 as both Unspecified Enemies and Counterattack, Louis Digital & Simon Walley’s music could easily be mistaken as made in proximity to 8 Mile Road, but they actually hail from Wales. On ‘Romance in the Age of Adaptive Feedback’ they drop one of the best Detroit-orbiting sessions we’ve heard in a hot minute, harnessing arsenals of classic synths and drum computers to the rarest sort of machine soul that hits exactly where it matters - below the belt and direct to the heart. It’s all killer no filler on seven subtle variations within a theme, mutably melding all aspects of Detroit house, electro, and techno in the lushest sort of techgnostic retro-futurism that sounds remarkably fresh and tumescent with the type of shine-eyed, pilled-up spirit that hard synched many bodies to this sound back in the ‘90s, and arguably endured in Glasgow harder than anywhere outside the Motor City.
Attention is immediately directed to the title track for strongest feels, cutting straight to the soul wth synth pop-derived melodies, vocoder idents and sharpest vamps wrapped up in a precision-tooled electro-house groove up there with the best Other People Place, and the rest does not let up on the debonaire bliss out. ‘Mathematics Parc’ is pure UR-skooled magic, sparkling with serotonin-trigger pads and bleeps, and no doubt the title and feel of ‘Glass Skin’ is an ode to lip-smacking, ecto’d moments of club love. An ambient centrepiece ‘Nixon/Volcker (Mezzanine Level)’ is an all-to-brief moment of beat-less reflection, teeing up the hero-theme top lip sniffing poise of ‘Yield Compressor’, and the EP/LP’s other absolute stunner, a nine minute gem ‘Her Husband is a Lawyer’ comparable with deepest Juan Atkins or Actress, and we do not say that lightly.
100% total K.O.
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One of the finest 313-skooled acts not from Detroit, Unspecified Enemies do Motor City techno-electro-house with proper, pill-bellied and soulful finesse on a superb and definitive side for Glasgow powerhouse Numbers.
Beloved for inclusion on DJ Bone’s mixtape masterclass ‘Subject: Detroit 2’ in 2000 as both Unspecified Enemies and Counterattack, Louis Digital & Simon Walley’s music could easily be mistaken as made in proximity to 8 Mile Road, but they actually hail from Wales. On ‘Romance in the Age of Adaptive Feedback’ they drop one of the best Detroit-orbiting sessions we’ve heard in a hot minute, harnessing arsenals of classic synths and drum computers to the rarest sort of machine soul that hits exactly where it matters - below the belt and direct to the heart. It’s all killer no filler on seven subtle variations within a theme, mutably melding all aspects of Detroit house, electro, and techno in the lushest sort of techgnostic retro-futurism that sounds remarkably fresh and tumescent with the type of shine-eyed, pilled-up spirit that hard synched many bodies to this sound back in the ‘90s, and arguably endured in Glasgow harder than anywhere outside the Motor City.
Attention is immediately directed to the title track for strongest feels, cutting straight to the soul wth synth pop-derived melodies, vocoder idents and sharpest vamps wrapped up in a precision-tooled electro-house groove up there with the best Other People Place, and the rest does not let up on the debonaire bliss out. ‘Mathematics Parc’ is pure UR-skooled magic, sparkling with serotonin-trigger pads and bleeps, and no doubt the title and feel of ‘Glass Skin’ is an ode to lip-smacking, ecto’d moments of club love. An ambient centrepiece ‘Nixon/Volcker (Mezzanine Level)’ is an all-to-brief moment of beat-less reflection, teeing up the hero-theme top lip sniffing poise of ‘Yield Compressor’, and the EP/LP’s other absolute stunner, a nine minute gem ‘Her Husband is a Lawyer’ comparable with deepest Juan Atkins or Actress, and we do not say that lightly.
100% total K.O.
One of the finest 313-skooled acts not from Detroit, Unspecified Enemies do Motor City techno-electro-house with proper, pill-bellied and soulful finesse on a superb and definitive side for Glasgow powerhouse Numbers.
Beloved for inclusion on DJ Bone’s mixtape masterclass ‘Subject: Detroit 2’ in 2000 as both Unspecified Enemies and Counterattack, Louis Digital & Simon Walley’s music could easily be mistaken as made in proximity to 8 Mile Road, but they actually hail from Wales. On ‘Romance in the Age of Adaptive Feedback’ they drop one of the best Detroit-orbiting sessions we’ve heard in a hot minute, harnessing arsenals of classic synths and drum computers to the rarest sort of machine soul that hits exactly where it matters - below the belt and direct to the heart. It’s all killer no filler on seven subtle variations within a theme, mutably melding all aspects of Detroit house, electro, and techno in the lushest sort of techgnostic retro-futurism that sounds remarkably fresh and tumescent with the type of shine-eyed, pilled-up spirit that hard synched many bodies to this sound back in the ‘90s, and arguably endured in Glasgow harder than anywhere outside the Motor City.
Attention is immediately directed to the title track for strongest feels, cutting straight to the soul wth synth pop-derived melodies, vocoder idents and sharpest vamps wrapped up in a precision-tooled electro-house groove up there with the best Other People Place, and the rest does not let up on the debonaire bliss out. ‘Mathematics Parc’ is pure UR-skooled magic, sparkling with serotonin-trigger pads and bleeps, and no doubt the title and feel of ‘Glass Skin’ is an ode to lip-smacking, ecto’d moments of club love. An ambient centrepiece ‘Nixon/Volcker (Mezzanine Level)’ is an all-to-brief moment of beat-less reflection, teeing up the hero-theme top lip sniffing poise of ‘Yield Compressor’, and the EP/LP’s other absolute stunner, a nine minute gem ‘Her Husband is a Lawyer’ comparable with deepest Juan Atkins or Actress, and we do not say that lightly.
100% total K.O.
One of the finest 313-skooled acts not from Detroit, Unspecified Enemies do Motor City techno-electro-house with proper, pill-bellied and soulful finesse on a superb and definitive side for Glasgow powerhouse Numbers.
Beloved for inclusion on DJ Bone’s mixtape masterclass ‘Subject: Detroit 2’ in 2000 as both Unspecified Enemies and Counterattack, Louis Digital & Simon Walley’s music could easily be mistaken as made in proximity to 8 Mile Road, but they actually hail from Wales. On ‘Romance in the Age of Adaptive Feedback’ they drop one of the best Detroit-orbiting sessions we’ve heard in a hot minute, harnessing arsenals of classic synths and drum computers to the rarest sort of machine soul that hits exactly where it matters - below the belt and direct to the heart. It’s all killer no filler on seven subtle variations within a theme, mutably melding all aspects of Detroit house, electro, and techno in the lushest sort of techgnostic retro-futurism that sounds remarkably fresh and tumescent with the type of shine-eyed, pilled-up spirit that hard synched many bodies to this sound back in the ‘90s, and arguably endured in Glasgow harder than anywhere outside the Motor City.
Attention is immediately directed to the title track for strongest feels, cutting straight to the soul wth synth pop-derived melodies, vocoder idents and sharpest vamps wrapped up in a precision-tooled electro-house groove up there with the best Other People Place, and the rest does not let up on the debonaire bliss out. ‘Mathematics Parc’ is pure UR-skooled magic, sparkling with serotonin-trigger pads and bleeps, and no doubt the title and feel of ‘Glass Skin’ is an ode to lip-smacking, ecto’d moments of club love. An ambient centrepiece ‘Nixon/Volcker (Mezzanine Level)’ is an all-to-brief moment of beat-less reflection, teeing up the hero-theme top lip sniffing poise of ‘Yield Compressor’, and the EP/LP’s other absolute stunner, a nine minute gem ‘Her Husband is a Lawyer’ comparable with deepest Juan Atkins or Actress, and we do not say that lightly.
100% total K.O.
Full sleeve artwork and a poster designed by Ben Drury.
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One of the finest 313-skooled acts not from Detroit, Unspecified Enemies do Motor City techno-electro-house with proper, pill-bellied and soulful finesse on a superb and definitive side for Glasgow powerhouse Numbers.
Beloved for inclusion on DJ Bone’s mixtape masterclass ‘Subject: Detroit 2’ in 2000 as both Unspecified Enemies and Counterattack, Louis Digital & Simon Walley’s music could easily be mistaken as made in proximity to 8 Mile Road, but they actually hail from Wales. On ‘Romance in the Age of Adaptive Feedback’ they drop one of the best Detroit-orbiting sessions we’ve heard in a hot minute, harnessing arsenals of classic synths and drum computers to the rarest sort of machine soul that hits exactly where it matters - below the belt and direct to the heart. It’s all killer no filler on seven subtle variations within a theme, mutably melding all aspects of Detroit house, electro, and techno in the lushest sort of techgnostic retro-futurism that sounds remarkably fresh and tumescent with the type of shine-eyed, pilled-up spirit that hard synched many bodies to this sound back in the ‘90s, and arguably endured in Glasgow harder than anywhere outside the Motor City.
Attention is immediately directed to the title track for strongest feels, cutting straight to the soul wth synth pop-derived melodies, vocoder idents and sharpest vamps wrapped up in a precision-tooled electro-house groove up there with the best Other People Place, and the rest does not let up on the debonaire bliss out. ‘Mathematics Parc’ is pure UR-skooled magic, sparkling with serotonin-trigger pads and bleeps, and no doubt the title and feel of ‘Glass Skin’ is an ode to lip-smacking, ecto’d moments of club love. An ambient centrepiece ‘Nixon/Volcker (Mezzanine Level)’ is an all-to-brief moment of beat-less reflection, teeing up the hero-theme top lip sniffing poise of ‘Yield Compressor’, and the EP/LP’s other absolute stunner, a nine minute gem ‘Her Husband is a Lawyer’ comparable with deepest Juan Atkins or Actress, and we do not say that lightly.
100% total K.O.