Errorsmith
Superlative Fatigue
Boomkat Product Review:
Innovative dancefloor mechanics / complete joyful abandonment that's both utilitarian and absolutely daring in form. You dont need a PHD to get behind this one, though having one in quantum mechanics might help you unravel the seemingly endless energy levels woven into its fabric - having taken no less than 13 years to construct. It’s guaranteed all-killer, nay filler, pet.
At long last Errorsmith relinquishes his PAN LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once. The album’s key is cheekily embedded in the title, as the arch Berlin disco sound designer assuages Superlative Fatigue by properly drilling down to the truth of the matter - the purest, most effective grooves and scintillating sounds to flip wigs like nobody else.
As with Erik Weigand aka Errorsmith’s strongest club productions such as the legendary Donna [1997] as part of MMM with Fiedel, thru to Protogravity [2015] with Mark Fell, the dancefloor is squarely in focus on Superlative Fatigue. This is Errorsmith solo though, and as such it serves to bridge a fair gap between the innovative, oblique constructs of his Errorsmith #1 [2000] EP, and the unflinching documentary of his avant practice in Near Disco Dawn - Live Recordings 2001-2003 [2004], perfectly consolidating his avant-garde and populist tendencies with little concession to either side of the dichotomy.
To be clear; Superlative Fatigue is a proper party record. Entirely written using Weigand’s self-developed Razor software (as wickedly deployed by Mark Fell on the Manitutshu album), it inventively gives voice to the impish computer spirits that have been dancing around his head all those years since his last solo output; placing a keen knowledge of current macro trends and myriad, classic subgenres to utterly compelling service, then ratcheting the effect thru singular manipulation of their accents, tropes and structures with a necessarily scientific approach perhaps only comparable to Rashad Becker’s on the Traditional Music For Notional Species volumes.
No messing, the pinging dancehall of Internet of Screws is plain madness, and the uncanny valley anthem of My Party is likewise among the year’s most ear-worming, while the likes of Centroid and the face-twysting sourness of I’m Interesting, Cheerful and Sociable place the freshest spin on UKF and electroid Afrobeats we could hope for, and the suspension-lowering Retired Low Level Server is possibly the baddest acid-hall riddim since Acid Rain Records’ year 2000 template.
For anyone into anything from Nídia, Equiknoxx, M.E.S.H., Marfox or Nigga Fox, this remarkable record is one of the deadliest, freshest club records we've heard for years.
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Boomkat Product Review:
Innovative dancefloor mechanics / complete joyful abandonment that's both utilitarian and absolutely daring in form. You dont need a PHD to get behind this one, though having one in quantum mechanics might help you unravel the seemingly endless energy levels woven into its fabric - having taken no less than 13 years to construct. It’s guaranteed all-killer, nay filler, pet.
At long last Errorsmith relinquishes his PAN LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once. The album’s key is cheekily embedded in the title, as the arch Berlin disco sound designer assuages Superlative Fatigue by properly drilling down to the truth of the matter - the purest, most effective grooves and scintillating sounds to flip wigs like nobody else.
As with Erik Weigand aka Errorsmith’s strongest club productions such as the legendary Donna [1997] as part of MMM with Fiedel, thru to Protogravity [2015] with Mark Fell, the dancefloor is squarely in focus on Superlative Fatigue. This is Errorsmith solo though, and as such it serves to bridge a fair gap between the innovative, oblique constructs of his Errorsmith #1 [2000] EP, and the unflinching documentary of his avant practice in Near Disco Dawn - Live Recordings 2001-2003 [2004], perfectly consolidating his avant-garde and populist tendencies with little concession to either side of the dichotomy.
To be clear; Superlative Fatigue is a proper party record. Entirely written using Weigand’s self-developed Razor software (as wickedly deployed by Mark Fell on the Manitutshu album), it inventively gives voice to the impish computer spirits that have been dancing around his head all those years since his last solo output; placing a keen knowledge of current macro trends and myriad, classic subgenres to utterly compelling service, then ratcheting the effect thru singular manipulation of their accents, tropes and structures with a necessarily scientific approach perhaps only comparable to Rashad Becker’s on the Traditional Music For Notional Species volumes.
No messing, the pinging dancehall of Internet of Screws is plain madness, and the uncanny valley anthem of My Party is likewise among the year’s most ear-worming, while the likes of Centroid and the face-twysting sourness of I’m Interesting, Cheerful and Sociable place the freshest spin on UKF and electroid Afrobeats we could hope for, and the suspension-lowering Retired Low Level Server is possibly the baddest acid-hall riddim since Acid Rain Records’ year 2000 template.
For anyone into anything from Nídia, Equiknoxx, M.E.S.H., Marfox or Nigga Fox, this remarkable record is one of the deadliest, freshest club records we've heard for years.
Boomkat Product Review:
Innovative dancefloor mechanics / complete joyful abandonment that's both utilitarian and absolutely daring in form. You dont need a PHD to get behind this one, though having one in quantum mechanics might help you unravel the seemingly endless energy levels woven into its fabric - having taken no less than 13 years to construct. It’s guaranteed all-killer, nay filler, pet.
At long last Errorsmith relinquishes his PAN LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once. The album’s key is cheekily embedded in the title, as the arch Berlin disco sound designer assuages Superlative Fatigue by properly drilling down to the truth of the matter - the purest, most effective grooves and scintillating sounds to flip wigs like nobody else.
As with Erik Weigand aka Errorsmith’s strongest club productions such as the legendary Donna [1997] as part of MMM with Fiedel, thru to Protogravity [2015] with Mark Fell, the dancefloor is squarely in focus on Superlative Fatigue. This is Errorsmith solo though, and as such it serves to bridge a fair gap between the innovative, oblique constructs of his Errorsmith #1 [2000] EP, and the unflinching documentary of his avant practice in Near Disco Dawn - Live Recordings 2001-2003 [2004], perfectly consolidating his avant-garde and populist tendencies with little concession to either side of the dichotomy.
To be clear; Superlative Fatigue is a proper party record. Entirely written using Weigand’s self-developed Razor software (as wickedly deployed by Mark Fell on the Manitutshu album), it inventively gives voice to the impish computer spirits that have been dancing around his head all those years since his last solo output; placing a keen knowledge of current macro trends and myriad, classic subgenres to utterly compelling service, then ratcheting the effect thru singular manipulation of their accents, tropes and structures with a necessarily scientific approach perhaps only comparable to Rashad Becker’s on the Traditional Music For Notional Species volumes.
No messing, the pinging dancehall of Internet of Screws is plain madness, and the uncanny valley anthem of My Party is likewise among the year’s most ear-worming, while the likes of Centroid and the face-twysting sourness of I’m Interesting, Cheerful and Sociable place the freshest spin on UKF and electroid Afrobeats we could hope for, and the suspension-lowering Retired Low Level Server is possibly the baddest acid-hall riddim since Acid Rain Records’ year 2000 template.
For anyone into anything from Nídia, Equiknoxx, M.E.S.H., Marfox or Nigga Fox, this remarkable record is one of the deadliest, freshest club records we've heard for years.
Boomkat Product Review:
Innovative dancefloor mechanics / complete joyful abandonment that's both utilitarian and absolutely daring in form. You dont need a PHD to get behind this one, though having one in quantum mechanics might help you unravel the seemingly endless energy levels woven into its fabric - having taken no less than 13 years to construct. It’s guaranteed all-killer, nay filler, pet.
At long last Errorsmith relinquishes his PAN LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once. The album’s key is cheekily embedded in the title, as the arch Berlin disco sound designer assuages Superlative Fatigue by properly drilling down to the truth of the matter - the purest, most effective grooves and scintillating sounds to flip wigs like nobody else.
As with Erik Weigand aka Errorsmith’s strongest club productions such as the legendary Donna [1997] as part of MMM with Fiedel, thru to Protogravity [2015] with Mark Fell, the dancefloor is squarely in focus on Superlative Fatigue. This is Errorsmith solo though, and as such it serves to bridge a fair gap between the innovative, oblique constructs of his Errorsmith #1 [2000] EP, and the unflinching documentary of his avant practice in Near Disco Dawn - Live Recordings 2001-2003 [2004], perfectly consolidating his avant-garde and populist tendencies with little concession to either side of the dichotomy.
To be clear; Superlative Fatigue is a proper party record. Entirely written using Weigand’s self-developed Razor software (as wickedly deployed by Mark Fell on the Manitutshu album), it inventively gives voice to the impish computer spirits that have been dancing around his head all those years since his last solo output; placing a keen knowledge of current macro trends and myriad, classic subgenres to utterly compelling service, then ratcheting the effect thru singular manipulation of their accents, tropes and structures with a necessarily scientific approach perhaps only comparable to Rashad Becker’s on the Traditional Music For Notional Species volumes.
No messing, the pinging dancehall of Internet of Screws is plain madness, and the uncanny valley anthem of My Party is likewise among the year’s most ear-worming, while the likes of Centroid and the face-twysting sourness of I’m Interesting, Cheerful and Sociable place the freshest spin on UKF and electroid Afrobeats we could hope for, and the suspension-lowering Retired Low Level Server is possibly the baddest acid-hall riddim since Acid Rain Records’ year 2000 template.
For anyone into anything from Nídia, Equiknoxx, M.E.S.H., Marfox or Nigga Fox, this remarkable record is one of the deadliest, freshest club records we've heard for years.
Yellow Vinyl, Back in stock, instant download included. Mastered by Rashad Becker, featuring artwork by James Hoff and layout by Bill Kouligas.
Out of Stock
Boomkat Product Review:
Innovative dancefloor mechanics / complete joyful abandonment that's both utilitarian and absolutely daring in form. You dont need a PHD to get behind this one, though having one in quantum mechanics might help you unravel the seemingly endless energy levels woven into its fabric - having taken no less than 13 years to construct. It’s guaranteed all-killer, nay filler, pet.
At long last Errorsmith relinquishes his PAN LP for the good of the dance, twysting Black Atlantic rhythm patterns with computer music in a way that pushes all of our buttons at once. The album’s key is cheekily embedded in the title, as the arch Berlin disco sound designer assuages Superlative Fatigue by properly drilling down to the truth of the matter - the purest, most effective grooves and scintillating sounds to flip wigs like nobody else.
As with Erik Weigand aka Errorsmith’s strongest club productions such as the legendary Donna [1997] as part of MMM with Fiedel, thru to Protogravity [2015] with Mark Fell, the dancefloor is squarely in focus on Superlative Fatigue. This is Errorsmith solo though, and as such it serves to bridge a fair gap between the innovative, oblique constructs of his Errorsmith #1 [2000] EP, and the unflinching documentary of his avant practice in Near Disco Dawn - Live Recordings 2001-2003 [2004], perfectly consolidating his avant-garde and populist tendencies with little concession to either side of the dichotomy.
To be clear; Superlative Fatigue is a proper party record. Entirely written using Weigand’s self-developed Razor software (as wickedly deployed by Mark Fell on the Manitutshu album), it inventively gives voice to the impish computer spirits that have been dancing around his head all those years since his last solo output; placing a keen knowledge of current macro trends and myriad, classic subgenres to utterly compelling service, then ratcheting the effect thru singular manipulation of their accents, tropes and structures with a necessarily scientific approach perhaps only comparable to Rashad Becker’s on the Traditional Music For Notional Species volumes.
No messing, the pinging dancehall of Internet of Screws is plain madness, and the uncanny valley anthem of My Party is likewise among the year’s most ear-worming, while the likes of Centroid and the face-twysting sourness of I’m Interesting, Cheerful and Sociable place the freshest spin on UKF and electroid Afrobeats we could hope for, and the suspension-lowering Retired Low Level Server is possibly the baddest acid-hall riddim since Acid Rain Records’ year 2000 template.
For anyone into anything from Nídia, Equiknoxx, M.E.S.H., Marfox or Nigga Fox, this remarkable record is one of the deadliest, freshest club records we've heard for years.
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