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Boomkat Product Review:
Berlin’s Aquarian lives up to a mean reputation with an outstanding debut album of brooding sound design and deftly thrilling breakbeat-techno mutations for Bedouin. BIG RIYL Jasss, British Murder Boys, Christoph De Babalon
One of the classiest darkside dance albums in recent memory, ‘The Snake That Eats Itself’ is a deeply satisfying knees up for discerning ravers. Step for step it maintains a shark-eyed swerve thru all 10 tracks, toggling the pressure from war-fomenting levels of rufige to abyss-staring dark ambient and caustic noise attrition.
Starting up with the bittersweet glow and fizz of ‘End Credits’, the album enacts a proper soundboy burial for the ‘ardcore troops that takes the dark energy of late ‘90s rave as the jump-off for killer twists into militant ragga-jungle-tekno on ‘Blood Sugar’, a sneaky transitions from slow throb to breaker in ‘Ouroboros’, and coldest hardstep pressure in ‘Tarp2’, along with a trampling nod to BMB in ‘Hate Is a Strong Word’, and seething, Ruffhouse-styled D&B in ’365 Days and Counting’. Factor in quizzical beatless compositions such as ‘Sketch 2 (Song for D.O.U.G.)’ and the drone-pop meditation of ‘Letting Go At Arm’s Length’, and you have a real purler for the journey thru troubled times.