[ 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!
[ 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!
[ Darlings Recordings, 2016 ]
Make Plunderphonics Great Again. Polish soundscapist Faxada proves that the playful and something anarchic nature of sound collages and plunderphonics can be combined with tech-bending psychedelic IDM to create thoroughly fascinating, thickly layered compositions that bring to mind the mood-shifting mastery of Ssaliva or Amnesia Scanner. Faxada, however, manages to be much more fun in the process – whereas the mentioned acts are more disorienting or austere, Cohost is injected with a quirky sense of humor, cleverly juggling samples and found snippets to resemble Gobby at times, with his broken beats and a tongue-in-cheek approach. Fun as fuck. Highly recommended!
[ BLCR Laboratories, 2016 ]
While the beginnings of the British “genrequeer” musician Ross Baker aka International Debris reach the vaporwave fog with a ravey edge, his newest release Opaline seems to be taking cues from early 90’s British IDM scene. The opening 20-minute hypno-zone “Bone Breaker’s Mountain” sound like a perfect Articificial Intelligence beat stretched to half-infinity, like early Autechre trying to put themselves in a trance via sheer repetition. Next up is the acidic techno of “The Old Man of the Woods”, playing New Agey synth pads between against an oldschool 4/4 beat, where the shimmering drones gradually decay and degrade into bleep bloopery fuckery. The closing “Fountainkeeper” brushes tape drone sequencer against early OPN ambient aesthetics, making you think of all those home labels in the late 2000’s and early 2010’s. Great, psychedelic IDM trip. Recommended!
[ Orange Milk Records, 2016 ]
Tristan Whitehill a.k.a. Euglossine is the kind of Florida Man that doesn’t punch holes in fences while on PCP or strips naked in the middle of an interstate, but breaks the stereotypes by making music that is both awesome and confusing – in a good way. While last year’s Complex Playground was an outsider smooth IDM jazz masterpiece masquerading as easy listening muzak, the newest release is much more dancier, approaching club aesthetics at times. Whitehill’s balearic guitar blossoms in the distance while hard-hitting synths push forward ever-shifting rhythms and drum patterns. Music for sensory overload. Recommeded!
[ PAN, 2016 ]
Compared to last year’s supercold, dystopian Piteous Gate, the new EP by the Berlin based producer M.E.S.H. feels almost like a pop record: a much more rhythm and club oriented enterprise, it still feels futuristic and austere, but there are some clearly recognizable melodies and semi-danceable drum patterns, even though if you tried to actually dance to them they would make you look like a paraplegic. Jagged edges and sharp stops make a good deconstruction of club music standards and push it well into the “brainy dance music” territory, leaving much more to the ears than to the body. But you can’t deny that “Victim Lord” has that 2050 gangsta flair. Recommended!