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Trevor Abbott’s Wasserfall series of tracks share an analogue-synth directness and a catchy electro-dancefloor sensibility, although some are also happy to plunge into the abrasive (see ‘WF III’). Just 100 copies of this 12” vinyl out there, self-released by the artist within a coloured sleeve.


12" £9.99

Limited 12" EP. Edition of 100 copies.

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REVIEWS

Wasserfall I-IV by Abbott / Buxton
1 review. Write a review for us »
7/10 Laurie Staff review, 20 January 2016

Do you have enough synth in your life? I think that I might, but I’m sure there’s a hole in your ears somewhere, perhaps a hole from that plug that you thought you’d cherish forever back in your hXc days, but also perhaps an electro-sized synth hole that you just can’t wait to fill. Ugh. Disgusting.

Trevor Abbott and Nicholas Buxton are synthmakers that seem to have appeared from thin air - the former has a website that talks more about the stagnation of the digital image, and the latter might be a reverend but also might not. Brings the preacher man to mind. Anyway, there’s a stomping opener to this, a proper 80s-ish boss standoff tune, featuring noisy percussion and chugging synths. The synths are so full-on, it’s as if they’ve never encountered a filter in their life. They slow down for the second track, which covers more dynamic territory, a loud/quiet thing where a big snare with suddenly flare up over a low throb. Turn over and you’re greeted by a horrible, stomping techno/electro monster, with more than a few industrial clangs and grotesque synth leads. A definite standout, this, that destroys the first side. Solid machine imagery.

Things go arcade once more for the last hurrah, and I honestly feel like I’m bashing through goons and eating Wumpa fruit. There are some nuts high frequency sounds that shine through here, some piercing dial-up noises that make the first side seem a little dull in comparison, especially combined with the world-destroying ‘III’. Still, some wild electro synth exploration here, no vocals in sight.




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