Mescalinum United / Mover, The - Planet Core Productions Special Double AA Side

In retrospect Marc Acardipane was one of the best producers of the early 90's. His sound always belonged to him and him only. He layered his sounds with darkness. The beats were relentless.
They held back for nobody, consuming everything in its path. We built our scene in the Brooklyn Undergound from tracks like this. Music made for large spaces. It was E.P's like this one that
made perfect sense in an old warehouse where people and sound would meet and these warehouses sometimes were vacant for decades...Tracks like this did not sit well with most people that were playing House music. Way to abrasive, loud and gritty. But the more people that heard these records in that setting knew that these records were made for just that. These became timeless tracks. To think that Acardipane was thinking about recording this 15 years ago is sheer proof that the man was thinking for the future. Because if it sounds like this in 2008, I am sure it will sound this way in 2017. Marc Acardipaine, Yes we will see you in 2017, For sure.

To say that this record is important is an understatement.
I don't know which side to consider the kicker on this release. I still get chills thinking about either side.
"We have arrived" pretty much should be self explanatory. I think it's the song that truly signaled the arrival of hardcore techno. At least for us kids in the Minneapolis it did. Punisher was good and hard, but it wasn't scary enough. This record was and still is.
Hearing this at First Avenue in Minneapolis at Depth Probe for the first time was like being in a horror movie. It took everything creepy, terrifying, dark and fun about Industrial/ebm like what Skinny Puppy and Ministry were trying to do and everything that made gore and sludge rock and death metal so fun to bounce around to and so terrifyingly on the brink of distaster and welded it to a kick that impacted like buckshot from a sawed off 12 gauge.
Nightflight is a song meant for HUGE mammoth sound systems in cavernous dark burnt out rooms. Brian Eno should be proud of a song such as this. It's truly music inspired by where it was intended to be played.
industrial era ruins.