Shall Remain Nameless
Earth, Texas TBR: 11th October The secretive and alluring electronica project Shall Remain Nameless is about to release their third album. Earth, Texas is a concept based on the small town in the state named after our beautiful planet. When discovering of its existence, Shall Remain Nameless decided to imaginatively explore then knit together sensations, stories, and motivations which can be expressed through ambient music. Dedicating an entire work to this mysterious yet entirely accessible location allows track titles to point to various Earth, Texas based themes and information. Although unclear from first glance, I’m sure it will be fun to go and find out exactly what they all pertain to. The album begins with 79031. An eerie wave of deep background provides an undercoat to the initial blank canvas. A vocal sample of a political sounding statement echoes over the base tone like a ghostly reminder of the flying times. Melodic wind synths bring an airy sensation which radiates as if illuminated by some inner core. As amplitudes increase, more sample gives that in touch with the past quality which draws the listener in. Resonating and reverberating sounds mix and mingle as if a body of birds in the blue Texan sky. Oddly disorientating yet warm and effortless, the music opens into wide fields and large gentle horizons. Bright Morning Star brings the feeling into ever increasing luminosity. Uranium On The Moon takes a step down from the cosmic heavens, although perhaps not on this Earth entirely, the view is still fantastic. We’re given depth as metallic sounds and electronic feedback weave delicate tapestries of sound among strange and occasionally organic musical additions. A keyboard melody strikes the backbone of 299 792 458 m s, it revolves like a vinyl record hammering home the notes in a catching and mood building way. As pressure builds around the sound in adjoining walls of compression and volume, sections of the wave-form spill over and create interesting edges. Whispered vocal samples tread carefully between the cracks in the sound and they’re soon joined by more melody which works to dismantle the initial multi-tonal chime. 1109 sounds a distant horn from mist sheathed mountains as clattering percussion mimics the sounds of life close by. As the far-off melody gradually builds, crackles and distortions flood the mix in a slow and rising tide. Computerised ambience drifts across like synthetic clouds, coloured and shaped to perfectly resemble the dream. Angelic emotions craft a mysterious journey across the backdrop of infused notes. Subtle and relaxing greets the jigsaw like quality with the odd electronic distortion that makes it seem strangely more real. A guitar plucks, the music drifts in solitude, Blue Cloud Project spins off into vortices of abstract space. A trill stitches two track together, Blackwater Draw opens with a siren like tapping of high-pitched notes. Although not intrusive or alarming their direction seems like a tangent from the so far slouching and dreamy mood. Perking up a little, if only to reveal more interesting and mind seeding synthesiser tones which harmonise and dance with the motions of the track. A mammoth number at twelve minutes long, it dwarfs the other offerings in its spatial dimensions. As it progresses, more layers of tone and electronic melody are gently laid on top of one another. Homeward Bound and Hyatt Earth end the album, a graceful and elegant ascent into the realms of the music collection will follow. This experimental yet entirely accessible work of art explores not only the destination of Earth, Texas but the interesting and evocative sensations brought together by carefully selected and positioned sounds. For ambient and abstractica fans this album really is something to take home. Got time for clothes shopping? Here's the sale and purchases support this website. Watch this video of Untitled III from Shall Remain Nameless's second album Untitled. You can find all music by Shall Remain Namesless on Bandcamp. Also, connect with Shall Remain Nameless on Soundcloud and YouTube.
Eomac & Seán Carpio
ETXC002 Eotrax TBR: 19th October Eomac is back for a second bout of the ETXC series. A collection of four vinyl releases staggered over the months running up to Christmas, the Eotrax compendium features Eomac plus highly sought after names in the business. Mentioned previously on The Electro Review, ETXC001 featured the all-star Paula Temple and her deep and deadly artistic version of techno. This time, Irishman Seán Carpio joins Eomac for a seven track blaster of abstract and ambient soundcraft. Mirroring the micro-cosmos surrounding us everywhere we go, this record takes us into tiny worlds of feedback and progressive loops which all build together into something much greater. Wolf Lichen starts with a sudden surge of sound, crystalline distortions scatter pitch and frequency on all sides of the geode. Broken wails of electronic sound splash and pierce with a dualistic anti-melody of white noise. From tiny cracks in the flat and near omniscient pressure of sound grow little shoots of programmed light which flicker and gradually break open their miniscule hatchery to sprout new directions. In similar ways to the iconic Subespai, unique and accurately composed textures fit together in fascinating and mind-catching ways. As the second track builds from a flourish of whistle and fresh sounding synth crackle, several layers of interesting waveform are thrown into a large compression of sonics. Then, once the initial burst has exhausted its flame, a subtle and resonant bass with dabblings of drum fills the fluffy mixture. Hypnum is a short one and is soon replaced by the third instalment. Schistostega Pennata takes on a quieter and calmer sensation. Distant crashes and rumblings echo in the faraway background as a tonal wave flutters and sputters in a gradually growing amplitude. The pitch bends slowly, until a moment where it jumps into a higher key. The sudden instruction of the higher notes come in shorter bursts, then a droning pitch flies over the top of everything. The number explores how distortions of high-pitch tone relate to gabbing under-bass and percussive elements. Parmelia Saxatilis takes that insisting wail from before and gives it a dancing partner. Electronic and mechanical sounds form strange correlations between themselves and the pitch is pulled down to meet the harmonising grunts of engineering. Then, clicking and computer sound almost like an old fashioned dial-up modem or programs on pre-recorded cassettes brings in the next layer of this sonic experience. Windy funnelling sounds throw us into the back of our seats while the digital readout throws shapes and numbers in periodic and strangely graceful dances of data. A thumping bass begins to stamp a clear message through the foggy jungle of rounded off noise and it makes a straight line path through the undergrowth. Soon though, this too is overcome by the effects of the natural environment. Rhytidiadelphus Squarrosus ends in a hysteria of revolving sound. Digital Moss crumbles down to the flurry of life which clings on and leaches from the weathered rocks. Hooking roots of tense fibres nestle down and give anchorage to singular beams of distorted grapples. As the waves multiply and the frequency spreads, new effects and directions fill the missing spaces. What was once a blind wall of silence is now a full and rich dimension of sound. Perhaps the elements have created a new chink in the rock face. Droplets of textured liquid spill in glistening globules represented by oddly earth like sounds in this otherwise alien environment. Finishing on Physcomitrium, this entire EP stretches us into the epic world of tiny things made big thanks to the magic of studio wizardry. What we often call the sound between the music has been magnified and amplified into sculpted works of musical art. Catch up with Sean Carpio on Soundcloud Also follow him on Twitter
Lo Shea
Activation / Pressure DEXT Recordings TBR: 12th October Walking in the huge groove recently ploughed through the field of DEXT by Bodyjack's Natajara EP, Lo Shea makes this 11th label issue a fortification. Having released on the label in the early days, friends of the DEXT music scene will be really glad to see them back. Dabbling with productions on 17 Steps and Rekids, this early pioneer comes home to make the beds, cook a meal, and serve it on china. Already something special, the bass and hat double timed intro zaps the mind into a dancing position. As wobbling bass tones and ceiling high hand claps bring a new level of energy, it only takes a few bars before the major intensity brings to the boil. Ghostly wails from a synthesised vocal spans across the audible spectrum from left to right and from in to out of the three dimensional space. A consistent and pushy drumbeat ensures that the dreamy sensations of the synthesiser don't capture us and pull us out of phase. Before it becomes apparent that we're caught in a high speed dance track, a new tempo from a rolling snare pushes us into the next gear. Frantic and fabulous, energy on the maximum setting, plenty of fuel is needed for this seven minute thomper. Activation truly activates the body. It culminates in whistling effects and melody which hum and drone over the massive drum-fill which revolves in its mapped out and evolving path. Pressure regains some kind of grounding after a high-flight into the cloudy abyss. A drum and bass backdrop crafts a cavern into the wall of silence then makes way for organic and resonant drums to create a granular compress of rhythm. Heavy handed bass synths push their melodics deep into the sound, they vibrate and resonate like plucked strings yet with a digital finesse the experience is eerily accurate to tone. Shadowy material from the basement of Lo Shea's musical capability sounds as good as the records from the dusty lofts. As the effects on the synth tones swirl on swerve the output, spaces are crafted for subtle volleys of new sounding additions to the mix. These gradually build and progress into metamorphic orchestral compositions. The track strips down to a minimum section briefly, before the tide build in the background and prepares for the back surge. A bass drone pierces the ground underfoot with a vibrant and solid energy as the drum loop gives its final flux. Here's a video of Lights Plant Action by Lo Shea from 2014.
omac & Paula Temple
ETXC001 Eotrax TBR: 21st September Finalising a hectic year of music business shenanigans, Eotrax head Eomac takes on an inclusive and experimental format. Combining talents with other artists, dropping the formality of genre and style, four monthly vinyl releases leading right up to December will showcase the multidisciplinary directions of this impress. The first single to make its way to market is ETXC001. Taking on the might of techno maestro and remixer of The Prodigy, Paula Temple, she and Eomac have created a sound neither artist could have made alone. This two track snap of the fingers sets a tone for truly out-there compositions which hopefully will become foundation stones for other future works. Thanks to their improvised and experimental nature, the core of the creativity is ready to be studied and involved again and again. The first seven minute number begins with a staggered drum-beat which boulders along in an easy to dance to tempo. It's quickly joined by starry-eyed synthesiser that, with dreamy strokes, keys out melodies that flutter like brightly coloured insects around a pollinated flower of beats. Fuzzy distortions of strings snake their way across the top end of the sound, reaching further into space and mysterious dimensions. Taking moments to re-adjust, a percussive addition soon gives the direction enough push to increase the dancing velocity. Skyward and morish, Gestrin makes a great impression. As it reaches its culmination of progress and energy, the track boils down into a frantic and meaty sludge of sound and curved wavelengths. Kralle moves closer to the heart of the techno sound. Where-as the first offering leaned on corners built by artists like Autechre, this b-side stands on its own two feet firmly in the middle of the floor. With a wild at heart energy and a desire to push past all the boundaries that hold back proper techno, the track ends the record beautifully. The set begins with this release and each month one more can be acquired. True collectors need to know about this set and if you'd rather go digital then you'll need to wait until early 2019 to buy the download package of the collection.
You can visit Paula Temple online,
Follow her on Facebook, and Twitter. Also, you can buy Paula Temple's music from Amazon Amazon UK and iTunes You can also follow Eomac on Soundcloud and Twitter. Plus you can buy music by Eomac from Amazon Amazon UK and iTunes.
Carlton Doom
Necrodancer EP Deep Sea Frequency TBR: 5th October Emerging from the sub-conscious fathoms of Chris Hanna's deep-seated shadow personality stands Carlton Doom. So far only appearing to Chris in his dreams and explorations of the possible, Carlton brings massive energy to big room sounds in huge hitting depth-core electro. This inaugural production sets a scene of shimmering darkness and crazy magic with its self-evidently sinister title. Dancing with the dead is perhaps something we do on a daily basis when we consider that all of our society is built on those who lived before us. From the thoughts about life to the technology we use, scientific and philosophical existence is framed by the achievements of past generations. This Belfast based drum and sound technician brings it all to life with this record. First track Necrodancer brings home the biscuits with a snappy and catchy drumbeat which builds with bass on a gradual incline. Soon the bursts of sound and thumping percussion are met with shivering high-pitched tones that slice through the mix causing distorted bubbles and drawn-out sustain. Then, a dirty sludge bass pours across in a heavy and viscous flood of musical gravy. As it pads out the original sounds into their distorted cushioning some wailing synths pin it to the ceiling. The journey to the energy was fantastic so it seems that its happening again. Broken down sections of rhythm and drum wind the clock for a few moments before that gravely bassline hits the floor once again. The new number hits hard with a thrust of energy in the form of rhythmic percussion at a frantic pace. As if leaping from one metallic object to another, with the tempo set to sweat-breaking, the sounds resound and resonate through a slurry of varying form. As it all begins to make sense to us, a bass drum is added to really make sure we get it. This metallic and fast-moving homage to floor-filling gravity rolls out the cymbal and drum to fill the gaps between the organic feeling bric-a-brac-bash that ceaselessly riffs onward. Interesting phasers and tubular blowing sounds combine to revolve an under-tone around the drumbeat. It makes me think of spheres within spheres. Perhaps that's what a dance-floor looks like from the DJ booth. Fascinating rhythms seem to be a key aspect in the music on this EP. The third number begins with a swirling cake of drum and cymbal which clap and slap through a sonic mesh which bends and pulls everything into expressive shapes. As they soothe themselves on an addition of slightly tampered bass-drum, a bridge of chaos to order begins to build. A sudden silence reveals a cave of intent, which becomes the passage-way for a slinky throb bass to craft wavering tones like a torrent of bats. As we become drawn into the blank, and our eyes begin to adjust to the gloom, digital bass tries to push through the gaps in the wall. Although it struggles to hold a pure rhythm, we can feel the oncoming surge of flow that no-doubt will appear when the pressure builds. It does and with a mix of synth, sample, and drum, the track crests in a repeating surge of sound. Final track Rot opens with a new drumbeat which resonates on the high end. It's scuffed with grating effects which have touched on all the peaks and troughs without removing their recognisability. An industrial type scream shudders from the mix as the percussion drowns into the pilot-light, then a flare of energy brings everything into one focus. Techno with a dark-wave edge that has enough power behind it to fuel big rooms of beat-hungry maniacs makes this first offering of four one to dedicate to the rest of Carlton Doom's musical output.
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Opal Sunn Parallax EP Touch From A Distance Records TBR: 12th October Some time ago, Opal Sunn played a set of their experimental material at a Berlin house party. One of the guests just happened to be connected to Touch From A Distance's Nick Höppner. The stage was set from that moment on, as Opal Sunn clearly demonstrated a superior and professional command of their tools. Two Japanese ex-pats who chose to make their home in the centrefold of the electronic music scene, this Berlin based duo bounce their skills from each other's music to create a great uplifting and party based sound. Since releasing two EPs on their own label, Planet Sundae, Hiroaki Oba and Al Kassian move across to TFAD and all the firepower that goes with it. The EP rips open with a down and dirty funk beat which pounds every other time with a sludgy bass tone. Airy fills waver over the top in a flurry of melodic harmonisation while a tribal style forward motion pours from the drums. Tingles and twinges in the top section revolve and eventually turn over the stone revealing a jewel dropped inner soundscape of catchy dance. Cerebral body music that takes a hold of our mind and stomach pulls us into the energy and gets us moving. Space building phases of sound grow and submerge in the frothy mix of drum, melody, and percussive composition. Parallax progresses into a frantic engine of rhythmic good vibes which seem to come from every direction. A new sensation is delivered as Aura begins. Swerving tones and thumping cymbals sit on a foundation of subtle bass. New tuneful sounds bubble from the wellspring of silent potential giving an effervescent quality to the track. Echoing drums canter off into distant corners while the uplifting and pacey melody brings new directions in with each few bars. Drawn out sonic groans build themselves into the sound, ranging on the peaks left behind by the persistent and catchy drumbeat. Each subsection of sound brings home the right direction and tangent to the delivery of dance music to allow a full spectrum of prompts and timing. Stripped down sounds comprise the third number, a minimal techno feel mixes with a heady sensation brought in by warm distortions. Allowing for more clarity in the composed melody, the nuances of pitch and synth tone build glowing spot-lamps of sound and flow. Smart and catchy hi-hat rhythms sit over the bouldery underscore while muddy coagulations of synthesiser simmer slowly over each revolution. Distances and journeys are represented by ever shifting currents of looped additions to the well crafted and multi-directional mix. Mirage perhaps builds an illusory wall of sound from several well-placed points on the sonic landscape. As Phantom begins, earthy undertones build and waver on a flowing bed of club-based energy. More upbeat melody garnishes the harmonising bass and moody drum to form a dreamy layer of mind wandering and musical accompaniment. Pulsing tones build riffs and hammer them to the ground with pegs of high-end bass and frilly cymbal fills. Less in your face than the previous three numbers, Phantom turns the heat down a little to allow us to stand just that bit closer. Once through the open window, the clever use of ingredients makes itself even more apparent You can find Opal Sunn on Amazon Amazon UK and iTunes Also Follow Opal Sunn on Soundcloud and Facebook Dont forget to subscribe to The Electro Review on Facebook and share this review!
Faerber
070717 EP TILT Records TBR: 17th September Hamburg hotspot PAL Nightclub and electronic music DJ Faerber team together to establish TILT Records. This beats factory stands to make its first appearance as an impress with 070717 EP. Curiously titled, based on the date of Hamburg's G20 summit, the four track extended play gives Faerber a platform to work his magic to the highest degree. With a work ethic of no holds barred, the TILT music label brandishes the power of the podium for cutting edge and experimental artists to let the mantle drop. As times have previously been challenging for both nightclub and artist, now that the coast is clear the music is able to reference these early days and express the wisdom within them. Thanks to a continual presence of the local police force, it's taken a long time to gain the trust of the nightlife loving community in Hamburg. Good things can't be kept down, however, and over time the residents and revellers have learned there is nothing to fear at PAL. The music starts straight off the mark with a grabby dance beat. Layered bass and hat with a filling of electronic percussion give a flux of rhythm that rolls off the amp like cream. Melodic fills are included, these waver and sway through various effects as the undersections break down to allow for gradual builds. The pressure just gets more intense and with each new injection of sound, the tempo is garnished, fortified, and made more prominent. This is club soundtrack territory, and Faerber has got it just right. Dunmore Point takes us straight into the middle of the crowd and gets us moving to its well paced groove. Liquor GPS takes on a new angle. A heavy thudding bass drum surrounded by quick tapping and percussive sprinkles of rhythm makes a dash for the corners. Leaving a wide open space for something new, it's the amplitude of various components that fill the gaps. Melody bass revs up the clockwork as the steady beat grows fatter and more heady with each pass of the stylus. Soon the inflections on the bass end become so prominent that all else is partially downed out. This temporary throb to the ears allows for subtle differences to suddenly reveal their destinations. The third track is the title number, 070717 enters with a heavy bass which resembles the pulse of panic and intense action. Floppy bass tones lay either side of the thumping percussion and build an eerie sensation of urgency. More synth flow slings sound over the top and underneath and further depths are reached by the plunging rhythms. As the cymbal sound gathers its action plan and puts it in motion, a new layer of forward thrusting energy brings further face to this intense number, A test of nerve and a frantic dancefest for the floor, the EP has taken us to brilliant heights of energy in just three tracks. The EP finishes on track number four, Hazinky. Retro bass tones on a heavy synth matched with stuttering kick drum build a robotica futuristic feel. Perhaps during periods of great inner resilience, focussing on the future days to come is the best way to remain positive. Despite having their image stained by suspicions and over-protective law enforcement, continual parties and staying true to the ideal of experimental and fresh sounding electronic music paid off in the end. This EP marks the occasion, the first of many pieces of high energy music to emanate from this cultural collaboration of modern artists.
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Hammer
Ozone EP Modern Magic Records TBR: 5th October Hammer has been making music for all kinds of labels, with works on Feel My Bicep, Optimo Music, Loft Records, and his home brewed Hammer Hits, this time Modern Magic gets the ticket. Side-stepping in flashy martial arts style impress hopping, maybe Hammer is looking for that home run. This has been a long stretch, now truly knitted into the culture, we may not know where Hammer will show up next but we know we can expect good music. It seems everyone wants a nail bashing in their back-catalogue by this workshop of wonderbeats. Hailing from Belfast in N. Ireland, the DJ and music producer lays down his entire skill-set to bring Ozone EP to life. Title track Ozone begins on a snazzy drum riff with a quick tempo. Loose synths work their way through the progress in subtle shape-shifting oscillations. A rolling rhythm grants a sensation of forward motion. Soon, a melody on wailing bounce keys begins to create a rubbery texture in the sky, mental images of high flying structures scraping the edge of the atmosphere enter my thoughts. The sound breaks down and allows a bass tone to dig out a trench beneath us. A new drum breaks the surf on a thumping bass timing, and futuristic wavering scrapes underline the flow. Retrophiles will be in their element while listening to this. Next up, a new upbeat rhythm pulls the curtain open and reveals a sunny sensation. Frantic hats with a revolving simple rhythm build to become a foundation for more bouncing synths. Exploratory melodics repeat a patter in various postures, tapping the rocks below to find the right place for the new material to pivot from. Progressive builds framed by sunny compositions on the keys allow doses of euphoria while subtle grounding elements keep our feet on the dance-floor. Interesting sounds fused from oriental inspired strings sprinkle a colour of the exotic over a space-age sounding volley into the airy ether. The Collision takes us past the initial gloomy introduction and into open skies. Final track, Electric Fields, unifies the drum and synth for a pulse of new energy. Shakers reveal a sudden influx of rhythm as a new layer of percussion gives a whole new dimension. Sonic frolics sprinkle mentally invigorating phrases over the continually evolving carpet of the track. Jumpy synthesiser riffs build like sand castles over a bass and drum two step which can only mean lots of dancing. Expressive displays of waveform and well balanced stereo explorations dissolve into one homogeneous sound of electro. With a high energy feel and a funky element on the throbby bassline, the EP ends on a morish and highly requestable offering. Check out Hammer on his Soundcloud playlist Desert Sound Colony Fast Life Touch From A Distance Records TBR: 31st August First impressions make a huge impact, and this premiere release from Touch From A Distance Records has been years in the making. Nick Höppner is the former A&R man and founder of Berlin's Berghain nightclub's inhouse record label, Ostgut Ton. He has waited five years before embarking on a new music production adventure. Now at the helm of newly founded Touch From A Distance, Nick Höppner takes the electronic music sound of Europe to new levels. Taking the might of Desert Sound Colony on board to fire the first cannon was an excellent move. His first two records were featured on DSC's own indie label, and this third number will hold all the weight of this over-seas impress. The London based composer and sound-mechanic has unleashed all the sails and has manned every possible control in his arsenal of abilities for this record. A four track EP is set to stun the dance-floors and DJs around the world who lap up this breed of hard-hitting progressive techno. First track Fast Life begins with a rolling quick beat, joined by a birding synth. Voluptuous quavers of sound ring out through the central filling, bringing bursts of motion to the revolving rhythms. Shrill tone and middle range beaty melodics craft a high in the air kite fly of sound which allows for a sonic openness, suitable for mixing something in no-doubt. A space-age thrill sensation builds from fruity oscillator style warps of amplitude. Somehow I Talk brings on the second in this selection, abstract robotica sounds craft a crazy melody held together by more familiar sounding futuristic blips and crackles. A drum-beat and a vocal sample give a new layer to the immense and oddly angled offering. Wooden beats combined with bouncing rhythmic frills and bio-mechanical strangeness linger into a dense and undergrowth laden forest of musical phonics. Beats and bass with spoon-like tin drum sounds crumble over the remains of the second track to reveal number three. That oddly organic future sound is still there, although we are dealing with a completely new feel and seemingly slower tempo. High-hats tinkle out their little touches of drama while bouncing rhythms continually offer us platforms to physically express our sensations as we move. Finger Flies could well be a symbolic image of lots of fingers moving around like flies, tapping out their words, programs, tweaks, musical compositions, and various other forms of creativity. Fourth track Glixen features Baby Roller. Desert Sound Colony's comrade in sound has helped him to extend the bouncing feel into true funk territory. The EP contains many minimalist moments, where the subtle changes and fills make the listening acute and intellectual and it is crammed with sonic trifles where layers merge one with the other to form a multi-sensory sound experience. Find Desert Sound Colony on Amazon
Amazon UK and iTunes Also connect with Desert Sound Colony on Twitter and on Facebook. Locked Groove & Innershades The Gate Locked Groove Records TBR: 24th August Since creating his Locked Groove impress, the named artist has put a great selection of hard hitting EPs onto the scene. Setting in stone the ethos of the new rave and jungle clubs, finding a home for this cutting edge grandchild of those iconic 80s and 90s has done no end of favours for the sound. Innershades, a Belgian artist best known for works on Crème Organization, Pinkman and Hot Haus Records, lends his expertise to give this new number a dose of fresh-up and shine. The Gate, which features Innershades, begins the EP. A dark and technological synth whispers in low tones to set a scene for introspective dancing. With the entrance of rhythm, a quick and energetic beat flows from the well-spring of happy days. Trilling melodics two-step around the pounding bass, and underscore melodics keep the pulse in shape. Light-shows of the mind and gloomy corners of friendly faces project through this journey of rave-based yet ultra modern track. Retro drum loops and oscillating synths build the foundation of Waiting For The Climax, the second track on offer here. Rolling snares and hi-hats crest the peaks of synth bass tones and rhythm pinned blips. Gradual build-up allows the track to caress each section with subtle shifts and barely noticeable additions to the mix. As they grow in volume and clarity, justified gear-changes flow as corners are turned and landmarks are passed by. Throbbing bass notes add a distinctly old-school flavour to the mix. Singing synth tones spiral upwards, lifting the energy into new states of being. Nostalgic wallowing in the sounds of previous technologies always helps us to rekindle the fires from before. The EP ends on Drop The Midrange. A tip of the hat into the jungle direction, frantic sample loops build on something a little softer and less intrusive than what we may recall. Pleasant chording synths bring on a dreamy sensation while happy drums knit a tangled framework of bouncy material. Feel-good vibrations shine from this one like a packet of sunbeams. Wobbly notes underneath the hard-hitting yet melodious harmonies give a salt-and-pepper style seasoning and the odd injection of classic vocal sample helps to anchor the music in its roots. The EP sports three individual tracks, each with a distinct flavour and feel. As a piece, it works well with the same quality as a three course meal. With similarity running through like a loosely threaded stitch, the music takes a fresh corner every time. Because these aren't short and snappy numbers, the EP is actually a decent twenty minutes or so, making it extremely good value for money as well. Follow Locked Groove on Facebook and connect on Soundcloud Find Innershades on Facebook and connect on Soundcloud. Buy Locked Groove on iTunes Amazon Amazon UK |
AuthorRowan Blair Colver for the Homunculus Media Group Thanks for supporting the documentation of underground electronic sounds.
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