Nick Edwards metamorphs and diffuses from Ekoplekz into Ensemble Skalectrix to issue the riveting plunderphonic turntablism of 'Trainwrekz' on Editions Mego. Now armed with a stack of dusty wax and two turntables alongside his matrix of pedals and "sound-shaping devices", Ensemble Skalectrix resulted from three experimental sessions recorded in november 2012 and lands somewhere between Jeff Keen's blatz-techno and Maurizio Bianchi's phosphorous synth noise sludge, crystallising in six tracks equally informed by free improvisation, aleatoric strategy, musique concrète, hauntology and, p'raps most importantly, the psychedelic reductionist principles of dub. The infusion of acephalic wax samples really adds a whole new dimension to Edwards sound, from the alarming cries of "Doctor!" in 'Wreksank' to the almost Oramic sound FX bubbling away in 'Wrektoo', but it's the way they fray and buckle, spit and keen within his hall of mirrors that really impresses the most, creating the most delirious, amorphous shapes and fluidly splintered architectures in gyroscopic trans-dimensional hyperspace. We daresay this is one of the best things he's put his name to.
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Nick Edwards metamorphs and diffuses from Ekoplekz into Ensemble Skalectrix to issue the riveting plunderphonic turntablism of 'Trainwrekz' on Editions Mego. Now armed with a stack of dusty wax and two turntables alongside his matrix of pedals and "sound-shaping devices", Ensemble Skalectrix resulted from three experimental sessions recorded in november 2012 and lands somewhere between Jeff Keen's blatz-techno and Maurizio Bianchi's phosphorous synth noise sludge, crystallising in six tracks equally informed by free improvisation, aleatoric strategy, musique concrète, hauntology and, p'raps most importantly, the psychedelic reductionist principles of dub. The infusion of acephalic wax samples really adds a whole new dimension to Edwards sound, from the alarming cries of "Doctor!" in 'Wreksank' to the almost Oramic sound FX bubbling away in 'Wrektoo', but it's the way they fray and buckle, spit and keen within his hall of mirrors that really impresses the most, creating the most delirious, amorphous shapes and fluidly splintered architectures in gyroscopic trans-dimensional hyperspace. We daresay this is one of the best things he's put his name to.
Nick Edwards metamorphs and diffuses from Ekoplekz into Ensemble Skalectrix to issue the riveting plunderphonic turntablism of 'Trainwrekz' on Editions Mego. Now armed with a stack of dusty wax and two turntables alongside his matrix of pedals and "sound-shaping devices", Ensemble Skalectrix resulted from three experimental sessions recorded in november 2012 and lands somewhere between Jeff Keen's blatz-techno and Maurizio Bianchi's phosphorous synth noise sludge, crystallising in six tracks equally informed by free improvisation, aleatoric strategy, musique concrète, hauntology and, p'raps most importantly, the psychedelic reductionist principles of dub. The infusion of acephalic wax samples really adds a whole new dimension to Edwards sound, from the alarming cries of "Doctor!" in 'Wreksank' to the almost Oramic sound FX bubbling away in 'Wrektoo', but it's the way they fray and buckle, spit and keen within his hall of mirrors that really impresses the most, creating the most delirious, amorphous shapes and fluidly splintered architectures in gyroscopic trans-dimensional hyperspace. We daresay this is one of the best things he's put his name to.
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Nick Edwards metamorphs and diffuses from Ekoplekz into Ensemble Skalectrix to issue the riveting plunderphonic turntablism of 'Trainwrekz' on Editions Mego. Now armed with a stack of dusty wax and two turntables alongside his matrix of pedals and "sound-shaping devices", Ensemble Skalectrix resulted from three experimental sessions recorded in november 2012 and lands somewhere between Jeff Keen's blatz-techno and Maurizio Bianchi's phosphorous synth noise sludge, crystallising in six tracks equally informed by free improvisation, aleatoric strategy, musique concrète, hauntology and, p'raps most importantly, the psychedelic reductionist principles of dub. The infusion of acephalic wax samples really adds a whole new dimension to Edwards sound, from the alarming cries of "Doctor!" in 'Wreksank' to the almost Oramic sound FX bubbling away in 'Wrektoo', but it's the way they fray and buckle, spit and keen within his hall of mirrors that really impresses the most, creating the most delirious, amorphous shapes and fluidly splintered architectures in gyroscopic trans-dimensional hyperspace. We daresay this is one of the best things he's put his name to.