What an IDM scuzzy-jazz-noise joy this is. A total fresh skewer on dance music where the ‘I’ is for injured and the dance bit is an interpretative crisp-bag of Ian Curtis-like scutterings. The fragmented energy spurring between Anthony Brown on upright bass and Aron Ward on assorted electronics and effects is a wonderful thing, slipping into the ill-fitting shoes of a host of worn-out genres to monkey-spanner some seriously unhinged magic.
Loving the explosive nature of this and “D(et)roitwich” tightens it up into a lo-fi industrial chop that’s neatly noir toasted. A chewy loopage expanding on an introspective vibro-crunch and back-combed whirl dub that’s utterly brilliant. What an absolutely breeze this is…
“Boz Nautilus” cavaliering a glittering interplay of semi-abstracts. The upright bass slivering to a glitchy purr. The beat’s metallic reverb grabbing at you with a Congo-elastic skip that savagely jigsaws. Skutter-dunked and shimmer-shackled with conservatory colour that pulls the weeds clean away. The odd sense of rhythm that suddenly sabres from the mayhem, often landing strangely harmonic, given all those unruly edges.
The layered loopian masterpiece that’s “Ceremonial Discombobulation”, all tribal-twanged lunacy unicorned in an unnatural unison that darts the speakers like a broken ballerina. I’m loving getting completely curtailed by the wrestled wow of it all. It’s tracks ceiling stacked with eureka moments that illogically pull you this way and that.
Bryn Wyrd‘s LA Crab is a staggeringly inventive beast ending in some springy sweet’n’sour techno dub twang that honestly fails all categorisation. Feedback-smothered and riot-roasted, this flapping pigeon poke is a total breath-stealer — an absolute blast!!!-Michael Rodham-Heaps-
