[ Self-released, 2017 ]
Let’s face it: the Russian/Ukrainian musical project WWWINGS emerged out out the blue, fueled by social media such as VK or Telegram and caught the musical world with their pants down. Move over, NYC; move over, London; move over, Berlin. You ain’t got shit on a bunch of Slavs from the outskirts of Russia whose minds are so deep into the Future they make top futurologists seem like fucking babies. They set the rules now and you just try to catch up. With A+G, the duo of WWWINGS present their super-eclectic blend of post-industrial, UK Bass, trap and IDM into a mass that is yet to be named: maybe it should be Future Bass? Maybe something else? Actually, who gives a shit? This is music from Beyond, pure and simple. You must listen to it to believe it. Highly recommended!
[ Planet Mu, 2016 ]
Post-Soviet Hyperfuturism: WWWINGS is a trio of (post)electronic producers coming from the different regions of Russia and Ukraine who are pretty much leaving the rest of the musical world far behind. Hiding under the aliases GXXOST (also known as Lit Internet), AWRWSW (Lit Daw) and Lit Eyne, they seem more like a group of elusive hackers straight outta cyberpunk fantasies than actual musicians, juggling data packets and gliding through bleeping, cut-up sounds like digital ninjas. If Berlin acts such as Amnesia Scanner or M.E.S.H. provide a glimpse into the future, these guys are a fully paid, all-inclusive trip to the world of “unthinkable complexity”, to quote William Gibson himself. After listening to this album, who cares if it’s grime, post-industrial, or whatever else? It’s the Future, with a capital F. Highly recommended!
[ PAN, 2017 ]
The year 2016 might have seemed for some as some sort of end-of-the-world year with all the major changes going on in the US, Europe, or globally in general. The media were keen to fuel the panic with nearly apocalyptic images of protests, terrorist acts and riot, leading many to believe the next Big War is coming. Meanwhile, the team of the Berlin-based electronic label PAN asked themselves a simple question: What is ambient music in the 21st century? With the help of the musicians who released albums on PAN they answer this question: Well, ambient is still mostly about calmness and atmosphere, but in 2017 it’s stylistic influences are much wider than in the 1970’s when Brian Eno coined the term. The compilations title refers to the Japanese philosophical concept regarding being aware to the passing of all things. The ambience on Mono No Aware is “contaminated” by noise, musique concrete, grime, even ASMR aesthetics. It’s indeniably futuristic but also very traditional at the same time, keeping faithful to the original concept or answering to the question of what ambient music is. Featuring tracks by Helm, Yves Tumor, M.E.S.H., Jeff Witscher, SKY H1, ADR and many more, Mono No Aware is an ecletic, yet coherent collection of the 21st century ambient music. Highly recommended!
[ Self-released, 2016 ]
I have a special thing going on with Amnesia Scanner. Ever since hearing their radio play “Angels Rig Hook” in 2015, I feel like through them, I caught a glimpse. A glimpse of something terrible yet inevitable, each chilling line describing of a world yet to come. Amnesia Scanner’s new release, created in collaboration with PAN Records founder Bill Kouligas, is purely instrumental, but much more abrasive and industrial – and, therefore, abstract – in nature. Heavily modified wordless moans interfere with sombre, bass heavy droning melodies and occasional stray snippets of EDM raves, like the fragmented streams from an underground dance music party. It’s a difficult listen, definitely, but the incredibly meticulous sound design (also characteristic for similar atists, such as Arca or M.E.S.H.) really makes up for all the challenging stuff. Like a chrome maze. Recommended!
[ UIQ, 2016 ]
Fresh from Lee Gamble’s brand new UIQ label comes the debut release by the Glaswegian futurist Lanark Artefax. This EP is a mirror labyrinth of decomposing grime beats, metallic surfaces scratching each other and disembodied android vocals together building an image of ADHD-oriented future music, constantly shifting and morphing, uncapable of keeping a regular rhythm for longer than the attention span of a goldfish. But that’s OK, these days we all have an attention span of a goldfish. Glasz is just yet another reminder of how scattered our minds have become in this age of acceleration, a release full of flickering moments that almost manage to create a melody or a structure (most coherently realized on the title track), yet always strays away from the center of gravity. A trippertronic treat for the impatient. Intriguing!