Stainless looks like it would be an industrial techno record (it is, after all, coming out on Kerridge’s Contort label), and in a way it is. But these four tracks also feature a lot more cello and piano than your average techno 12”, as WSR is interested in pushing electroacoustic experimentalism into rhythmic realms.
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- Stainless by WSR
8/10 Ant Staff review, 08 October 2015
Samuel Kerridge’s Contort label hits its fifth release, branching out into dark electroacoustic terrain with a four track EP from WSR aka Emanuele Porcinai. So Porcinai’s creative process is both analogue and digital, involving sources from both synthesized and acoustic instruments, manipulated with good old fashioned spools of tape and electronically (presumably computer). The results; a collision of modern classical, industrial music and I suppose techno.
‘Debris’ opens the EP with tape warped piano and tender acoustic guitar phrase, gently and increasingly bathed in saturated tape his before the shudder of tumbling beats kick in and longing slightly dissonant, melancholy keys add an additional layer of beauty, reminiscent in mood of some of AFX’s ‘Analord’ tracks.
The title track gets to work on the lug holes and cerebrum with brooding bass and what sounds like the tinkling of processed Tibetan singing bowls, before hard-hitting drum hits hammer and reverberate alongside groaning, demonic wolf sounds. The brutality is tamed with lush synth --so things feel powerful rather than aggressive or violent.
If Greek chamber doomer’s Mohammad joined forces with Kerridge, Ben Frost and Roly Porter and made industrial edged techno it might sound something like ‘No Horizon’. ‘Inner Oceans’ has something of a Muslimgaze/ Vatican Shadow type Middle Eastern feel, slowly building with mystical drones and a submerged rhythmic skeleton into a cinematic, widescreen piece that closes the EP in fine style.
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