The latest release on Collapsing Market (Buttechno, Leif) is the debut LP from label co-founder Eszaid. With Eurosouvenir we find the one born Louis Vial exploring the failure of the European project in a style that hops around the borders of techno, ambient and musique concrete. The moody, skittering rhythms of cuts like 'XEU.4217' and ‘Alicante’ nod to Ron Morelli, Don’t DJ and Evitceles.
Vinyl LP £15.99 £9.59 CM006
LP on Collapsing Market, mastered at D&M, Berlin. Edition of 300 copies.
- Only 2 copies left
The Collapsing Market label outta Paris seems pretty cool from what I’ve heard so far. Can’t say I’ve heard all of the label's output to date -- initially, they released cassettes that passed me by, but what I have listened to since they started pressing vinyl (ssaliva and Morteza Hannaneh) has been of consistently high quality. This record from the label co-founder Louis Vial as Eszaid is another decent one for sure...
‘Eurosouvenir’ opens with the fairly minimal, propulsive, slightly grubby and crackly pounding and clanking techno of ‘XEU 4217’. ‘Ne parlons pas de ruines’ utilizes negative space to creepy effect with static hum and the sound of machinery booting itself up late at night after shut down. ‘Derivation lente’ recalls the tingling, icy and eerie minimalism of some of Mika Vainio’s productions as Ø with the addition of haunted horn like bursts. ‘Notre Mer’ sounds equally Vainio / Pan Sonic influenced but Eszaid elaborates on the minimal template with intricate sounds creeping in and out which add to the tension and underlying sense of dread.
‘Alicante’ sounds like some sort of micro techno created by plankton, while ‘Hecatombes’ builds tension with muddy distorted drums and flashes of percussion with phantom-like reverb as it becomes increasingly claustrophobic - as through the walls were closing in, but only ever threaten to crush us. The industrial rumble of ‘Faux coupon’ is more subtly foreboding, before the sinister alien stepping techno of ‘GRD 4217’ closes. It feels like everything that came before has been building up to this track, and when it finally hits, it's pretty satisfying but leaves me slightly wanting a wee bit more. Which isn’t necessarily a bad thing. It’s part of the charm of the record that it eludes to a lot that never quite fully manifests - it’s this mysterious shadowy quality and sense of something lurking beneath the surface that makes it such a tantalizing listen that’s for the most part gripping.
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