Instant top marks for the title ’Shardcore’, and also praise due to Myriad Myriads’ (fka Bass Clef's) fractal club decimations, dancing on a crushed crystal tip between Niagara’s bittersweet offbeats, Future Times’ skewed groovers, hiccuping Akufen funk or a groggy Rian Treanor
Might just be us, but ‘Shardcore’ appears to be about, or at least inspired by, the putative qualities of ketamine, as applied to club music. Hated by some, beloved by more; since the ‘90s keys of ket (and bigger measures) have irrevocably disrupted club music. As with many intoxicants before it, artists have sought to emulate its effects in music, and on ‘Shardcore’ we can hear Myriad Myriads mimicking kenny’s ability to fracture linearity, prompting a lowkey delirious diffusion of tension between the regularity of grooves that lead the body one way and iridescent fractal artefacts that jog the mind in other directions.
To be fair we may be going off on a tangent here, but that’s what the music and titles imply to our spangled minds, leading down a mazy path from the offbeat and bin breakbeat house of ‘First Shard’ to boinging, eye-gyring Afro-Latinate trills in ’Second Shard’ and the a ruck of ruggedly UKG-styled rhythms crystallised with refractive electronics, at best in the Church Andrews-esque skipper ‘Fourth Shard’, the pitch bent baubles of ‘Shard of Shard’, and the electro stabs smeared into strangest swing on ‘Fifth Shard’, thru to the jelly-limbed ‘Last Shard’. Trust it’s not a ketty tech house wiggle off.
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Instant top marks for the title ’Shardcore’, and also praise due to Myriad Myriads’ (fka Bass Clef's) fractal club decimations, dancing on a crushed crystal tip between Niagara’s bittersweet offbeats, Future Times’ skewed groovers, hiccuping Akufen funk or a groggy Rian Treanor
Might just be us, but ‘Shardcore’ appears to be about, or at least inspired by, the putative qualities of ketamine, as applied to club music. Hated by some, beloved by more; since the ‘90s keys of ket (and bigger measures) have irrevocably disrupted club music. As with many intoxicants before it, artists have sought to emulate its effects in music, and on ‘Shardcore’ we can hear Myriad Myriads mimicking kenny’s ability to fracture linearity, prompting a lowkey delirious diffusion of tension between the regularity of grooves that lead the body one way and iridescent fractal artefacts that jog the mind in other directions.
To be fair we may be going off on a tangent here, but that’s what the music and titles imply to our spangled minds, leading down a mazy path from the offbeat and bin breakbeat house of ‘First Shard’ to boinging, eye-gyring Afro-Latinate trills in ’Second Shard’ and the a ruck of ruggedly UKG-styled rhythms crystallised with refractive electronics, at best in the Church Andrews-esque skipper ‘Fourth Shard’, the pitch bent baubles of ‘Shard of Shard’, and the electro stabs smeared into strangest swing on ‘Fifth Shard’, thru to the jelly-limbed ‘Last Shard’. Trust it’s not a ketty tech house wiggle off.
Instant top marks for the title ’Shardcore’, and also praise due to Myriad Myriads’ (fka Bass Clef's) fractal club decimations, dancing on a crushed crystal tip between Niagara’s bittersweet offbeats, Future Times’ skewed groovers, hiccuping Akufen funk or a groggy Rian Treanor
Might just be us, but ‘Shardcore’ appears to be about, or at least inspired by, the putative qualities of ketamine, as applied to club music. Hated by some, beloved by more; since the ‘90s keys of ket (and bigger measures) have irrevocably disrupted club music. As with many intoxicants before it, artists have sought to emulate its effects in music, and on ‘Shardcore’ we can hear Myriad Myriads mimicking kenny’s ability to fracture linearity, prompting a lowkey delirious diffusion of tension between the regularity of grooves that lead the body one way and iridescent fractal artefacts that jog the mind in other directions.
To be fair we may be going off on a tangent here, but that’s what the music and titles imply to our spangled minds, leading down a mazy path from the offbeat and bin breakbeat house of ‘First Shard’ to boinging, eye-gyring Afro-Latinate trills in ’Second Shard’ and the a ruck of ruggedly UKG-styled rhythms crystallised with refractive electronics, at best in the Church Andrews-esque skipper ‘Fourth Shard’, the pitch bent baubles of ‘Shard of Shard’, and the electro stabs smeared into strangest swing on ‘Fifth Shard’, thru to the jelly-limbed ‘Last Shard’. Trust it’s not a ketty tech house wiggle off.
Instant top marks for the title ’Shardcore’, and also praise due to Myriad Myriads’ (fka Bass Clef's) fractal club decimations, dancing on a crushed crystal tip between Niagara’s bittersweet offbeats, Future Times’ skewed groovers, hiccuping Akufen funk or a groggy Rian Treanor
Might just be us, but ‘Shardcore’ appears to be about, or at least inspired by, the putative qualities of ketamine, as applied to club music. Hated by some, beloved by more; since the ‘90s keys of ket (and bigger measures) have irrevocably disrupted club music. As with many intoxicants before it, artists have sought to emulate its effects in music, and on ‘Shardcore’ we can hear Myriad Myriads mimicking kenny’s ability to fracture linearity, prompting a lowkey delirious diffusion of tension between the regularity of grooves that lead the body one way and iridescent fractal artefacts that jog the mind in other directions.
To be fair we may be going off on a tangent here, but that’s what the music and titles imply to our spangled minds, leading down a mazy path from the offbeat and bin breakbeat house of ‘First Shard’ to boinging, eye-gyring Afro-Latinate trills in ’Second Shard’ and the a ruck of ruggedly UKG-styled rhythms crystallised with refractive electronics, at best in the Church Andrews-esque skipper ‘Fourth Shard’, the pitch bent baubles of ‘Shard of Shard’, and the electro stabs smeared into strangest swing on ‘Fifth Shard’, thru to the jelly-limbed ‘Last Shard’. Trust it’s not a ketty tech house wiggle off.