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Samuel Kerridge has been getting quite the reputation for producing dark dystopian techno and industrial wallop. This LP however is a more personal record featuring for the first time (I think?) his vocals alongside thrashing guitar and percussion. Kerridge's music is a very physical thing, its raw and visceral with booming bass and electronic mayhem but here this is matched with restraint and elegance and results in a much more subtle and personal work that his previous waaay on the edge concoctions.  It's still terrifyingly dark though.

  • Double LP £15.49
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  • CNTRT001
  • CNTRT001 / 2LP on Contort aka Samuel Kerridge

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Always Offended Never Ashamed by Kerridge 3 reviews. Add your own review. 6/10
4 people love this record. Be the 5th!

8/10 Staff review, 20 February 2015

Following releases for Horizontal Ground, Downwards and Blueprint, Samuel Kerridge heads further into the darkness with arguably his gloomiest output to date on his second full length - the inaugural release on his new label Contort. Opening with the heavy doom-like dirge of ‘GOFD’ complete with indecipherable, suitably evil sounding F/X laden vocals from the man himself, along with slow clanging drums, heavy guitar drones and wailing synth it sets the tone for the claustrophobia and paranoia that follows.

Folks looking for dark banging industrial techno aimed at the dancefloor best look elsewhere as ‘MPH’ trudges along with brutal drum hits, creaks, demonic vocal and buzzing synth. ‘DAYT’ sounds like Satan’s foghorn piercing through black skies. ‘WOSN’ has a cinematic feel, employing epic strings to dramatic effect. ‘NCV’ does its thing with bass heavy drones and a grotty synth that threatens to induce a panic attack as it gradually decelerates. Closer ‘WIAGW’ is a departure from the sound pallate utilized throughout the rest of the album. Here a nasty synth rips through violent drum hits, again accompanied by Kerridge’s vocal which could be uttering tales of the apocalypse and judgement day or simply reading his favourite recipe - Who knows?  

Throughout the record I’m reminded at various points of Mika Vainio’s doomier experiments, Grebenstein, The Haxan Cloak, Oake, Sunn O)), Lussuria etc. If you fancy some bleakness look no further.

3/10 Customer review, 26th February 2015

Sorry guys but this is nothing more than yet another mediocre but overpriced Boomkat-manufactured/pushed/hyped release. As a longterm Norman supporter/customer I feel sorry that shops are "forced" to jump on this bandwagon - in order to sell / survive - week after week. A sad trend. Best of luck anyway. I'll do my best ignoring this stuff and continue to order the really interesting titles, although too often, these releases are not getting stocked any longer by Norman (unlike some years ago!!).


6/10 Customer review, 17th February 2015

Our Kerridge knows how to sculpt a drone. Not just any drones though; drones that wrap themselves around what seems to be hybrid samples of Pin-Head from Hellraiser, Darth Vader, or Zurg from Toy Story. Each track functions around the same basic premise: introduce a murky drone, with plenty of reverb to boot, add in some percussive metal clanging, more drone, more drone, more drone (Sunn o))) would most definitely approve) and have a jedi lord spouting some mystic, dystopian shit. It's often hard to make out what these voices are saying though, because in more or less every track they're enveloped in the industrial smog emitted by Kerridge's decrepit - factory disowned - synthesizers (although for all we know this could have been knocked up on Logic Pro; if so, there's some pretty nasty [in a good way] plug-ins being employed).

The album is more akin to the sound design of Alan Splet and David Lynch for Eraserhead, than it is to the dark/ambient techno of someone like Andy Stott - but that's not to say it's completely voided of all "traditional" techno tropes. For instance, WIAGW (the track titles are definitely in keeping with the techno aesthetic) starts pretty full on with a buzzing synthesizer lead that rises and falls in resonance before an industrial beat convulses into the mix and another one of those dark, dictating samples drops in to say hello. There's elements that remind me a lot of Throbbing Gristle, Cabaret Voltaire - and occasionally Warm Leatherette by The Normal - but mostly Darth Vader. If it was a Star Wars film it'd probably be The Empire Strikes Back (not my favourite, but an enjoyable one nonetheless).


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