Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
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Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.
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Best yet from Tessela on his Poly Kicks label, substituting stilted 4/4 and breakbeat patterns for a slinkier, supple and hypnotic style with little concession to his proper techno drive.
In Sorbet it sounds like this transition is occurring before our ears as his syncopated drums gradually grate their cogged teeth into a a sort of coarsely fluid swing smoothed out with contrails of diva vocals subtly contoured into rave peaks.
By the time we get into Diving on the B-side his drums have worn down to a frictionless roll of B-More breaks underlined with brooding Reese bass pressure like some early ‘90s KMS ace.