[ 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!
[ 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!
[ 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!