Datacide 15 Record Reviews by Prole Sector

Rabit
Communion
[Tri Angle 32]
Lackluster, infuriating? Or just disposable and instantly dismissible? Is this the contemporary conundrum? Caught between the ADD and mindless craving for “more” of the social media generation/addicts and the online “like” hype and bluster of the progenitors themselves. Why even bother to release albums anymore? I’m genuinely lost for words with this particular one even after multiple listens. I wanted to like it. I follow and, more importantly, support his output by purchasing the material. I like what I perceive he is sonically stretching for. I’ve listened to this stone cold sober; after a few beers; blind drunk, but it irritates and annoys me in all states.
The simple fact of the matter is there are no bones or balls to any of it. It feels obtuse and willfully obscure. What he may think is discipline and tech skill can just as easily be dismissed as pretension, even arrogance. “Snow Leopard” my arse! (I’ve tracked one in the Karakoram my friend and only ever saw its footprints, much less imagined a shitty racket like this as a soundtrack to their elusive beauty). Any of these tracks would bring a dance floor to a rapid standstill and see punters heading to the bar or for a smoke. Nothing wrong with that. So then as a listening album where’s the focus? It stutters and farts and crashes and jackhammers away, coated with the usual soft synth pads, washes and cod sci-fi FX/design, disappointingly veering into the weakest and most tired of breakcore undynamics. Only by the end of the 7th track “Pandemic” do we get any sense of slamming groove or focus evolving. And “Burnerz” finally gets into gear (for all of 3 mins or so) in a kind of vintage Italian Broken Beat stylee (think SNS, Anibaldi, ADC and their ilk). But by then so what? There’s a limit to the interest one can hold to repetitive “deconstruction”.
This should by rights be the last statement Rabit makes in this area, but after his even more useless and wretchedly awful 12” with Dedekind Cut on Ninja Tune I fear the man really has disappeared up his own proverbial.
I had a History teacher at school who used to score through whole paragraphs of our teenage scribblings with a red pen and capital letter “WAFFLE!”. Funny I should think of this and in my cantankerous middle age fully appreciate this now, but there we have it. Waffle indeed.

Ipman
Depatterning
[Tectonic TEC088/TECCD020]
In contrast to Rabit’s fart-in-the-wind of an album this just seems to get better on repeat listening and feels like a well researched, deeply knowledgeable journey through past and current genres.
I have to call him out though. His biggest, most shameful faux-pas is kicking off the whole thing with an utterly by-the-book old-school breakbeat ragga re-fit(shit). Absolute derivative nonsense. By this stage I think we all have to agree there’s nothing more to say or update on the matter. My advice: avoid, delete or fast forward. It’s a better listen without.
Skirting the edges of Deep House, Techno, and Bass, the rest of the material proves a masterfully tech exploration of route finding. There’s no pointless probing or faffing around on the arrangements. They choose their line and go for it, taking in their influences without fuss and with almost casual confidence.
“Gravity” is long slow builder; a subby, banger that kills it on the breakdown with a re-polished, wobbly, reese and vintage doomcore claps. [Read more →]

Datacide 14 Record Reviews by Nemeton

Ontal: Combat Engineering (Overdraw 01)
The newest release from the Serbian duo of Boris Noiz and Darko Dekode is completely storming and definitely matches our hopes since following Ontal’s music and mixes with great interest for some time. It is great to hear this on vinyl. A1 Combat Engineering is a searing, ruthless, grinding track with hard-hitting beats and industrial noise; A2 is a remix by Tomohiko Sagae, whose mixes are superb. B1 Lithosphere is a gritty, pounding abstract tune, and B2 ends it hard with Taphonomy. Definitely recommended!

Eschaton: (Token 38)
This is the first release that brings together Ancient Methods and Orphx. The tracks have been kicking around online in mixes and such for quite some time, so it was great to see the vinyl release finally come out in January 2014. Eschaton played live for the first time at Berghain in mid September 2014. We are huge fans of Ancient Method’s grinding, industrial techno, and we were greatly impacted by Orphx’s early releases on Hands like Vita Mediativa and Fragmentation on Malignant, but are less interested by Orphx’s more straight style of techno production of the last years. A1 Age of Iron is a solid techno track with a nice groove and full-blown bass; A2 Degenerate is a more subdued sound, with a slower and slightly off kilter tempo. B2 Seven Signs is the most abstract with expansive reverb, interesting clips, clinks, and other metallic sounds, which lead up to the dance oriented crescendo. This release has a lot of [Read more →]