Vinyl Double LP £18.99 LOVE111
Black vinyl 2LP on Modern Love, mastered and cut by Matt Colton. Comes in a high gloss varnish sleeve.
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- Passion by Demdike Stare
Doublepack doozy from Miles Whittaker and Sean Canty - proper ripping it up in fine style across nine blazing tracks, as they take standard dance music hallmarks and totally mash them up into a right freaky, grin-inducing cacophony which is a whole lotta fun.
Opening with the fizzing sci-fi droning of ‘New Fakes’ which tears a hole right through the aether like some alien craft hovering above, preparing to land right on yer skull. ‘At It Again’ smothers a dramatic loop in Prurient style noise which gets all chopped up into evergreen splintered amen breaks. The effect is like a good hip-hop DJ cutting up noise and jungle, or interference on a pirate station trying to share its frequency. At its most intense, it's a glorious racket that fans of Christoph De Babalon, DJ Scud/Ambush etc. should dig. ‘Spitting Brass’ dissects and rebuilds classic UKG tropes with sibilant two-step rhythms, a clipped female vocal snatch and cone straining subs. ‘Caps Have Gone’ is pure dirt, coming like an industrial dancehall mutant with martial drums, breaking down into a chiming interval, then back into the storm with a pulverizing, militant stomp. ‘Know Where To Start’ is all over the place, but there’s a groove at its core. The effect is like trying to dance on a slippery floor with its oozy slimy sounds and rhythms collapsing and ricocheting all over the place. The next tune is pretty weird too - beginning with a pulsating techno thing and going all trippy with strange fragments of voice, big bubbling noisy fills and a kinda cute, wobbly bassline. ‘Pile Up’ takes tough, jackin’ beats and stutters them in and around lots of fleeting transient sounds that appear and swiftly vanish before you can get your head around them. ‘Cracked’ is something like your favourite speed garage record getting brutally murdered, before closing track ‘Dilation’ soothes - a lozenge for the ears that warps with swells of emotional strings.
I have no idea how they made these tunes, but I get a real hip-hop vibe from this record. The way that the percussion and samples are manically sequenced feels really free - as though they’re cutting and chopping in and out with faders as opposed to drawing them into a grid with a mouse. Either way, the results have a really buzzing unhinged energy.
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