'What's left? What's coming up? ... More violence'. This 5-tracker by breakcore originator Christoph Fringeli has been tearing up dancefloors since its release. The opening title track puts forward a tough stance on a reality of dance music not lost to drugs or posturing, a music open to actual serious reality: 'Quite frankly I don't know how much longer the people are going to like being shot at by the police. I don't know how much more this community can take. We're talking about a police state right now'. At its best hardcore/breakcore has advanced a no compromise attitude to checking out the forward edges of our lives, of technology and the ends it serves in 'our' society. The music on this allies closely with DJ Scud's blueprint of scary blasts of sub bass together with noisy metallic fragments of jungle breaks and rattling kicks. There's also a strong dub style to the swirling production. Funky and psychedelic vibes!
(From Rupture mag, check Random Artists on the web)

There is a word used to describe sounds from which you cannot tell where they come from : acousmatique. To me it's like the gravitational force of a black hole, there are no lights at all around it, and I am attracted into it, absorbed by the energy of the unknown’. Inhabiting the same constellation of dark matter as the recent Praxis 44 record, many clinamatic trajectories here ("The clinamen is the smallest angle by which an atom deviates from a straight path" – Deleuze & Guattari, check the fascinating article on Wikipedia), simultaneous with no reliance on the need for beats and drums throughout, sweeping orchestral developments of shimmers and glissandos carry the rhythms, treatments of sounds ‘to go beyond the idea of musicality with the ambition of moving air molecules to widen the field of consciousness’, a chemistry set of accumulating reactions way beyond handed down traditions of form, content, structure. Awesome. [quotes from an interview with La Peste]
(From Rupture mag, check Random Artists on the web)

‘Our troops operate in the area of dream and myth under guerrilla conditions. This area is our cover, just as jungles and mountains serve as cover for three-dimensional guerrilla troops. The enemy is a noncreative parasite. It cannot touch us in this area. Their counter is saturation bombing and blockade of creative personnel ... Since our theater is under constant attack it must be constantly shifted and re-created’ - William Burroughs. Nominally drum n bass, but looking to evoke moods and feelings that reverse the damage done by our tekno civilization, this record emanates a wistful and pastoral quality, different to Aphex Twin’s baroque stylings, though a related handling of similar themes. The tunefully flanged and phased crunching rhythms move forward with space and perfect poise and balance, entwined with some delightful arpeggiated melodies, delicate twinkles, and luminous strings. B1 (and the other tunes too?) features a sample from Tim Blake’s ‘New Jerusalem’, which inspired outward bound travellers at Stonehenge Festival at the end of the 1970s. The feeling of possibility, of music being a force that we can ride to other dimensions, from where everyday reality seems sad and incomplete, like looking the wrong way down a telescope, pervades each of the tunes. A varied yet coherent record with an uplifting quality.
(From Rupture mag, check Random Artists on the web)

No artist names, no track titles, just a line drawing of a spiral fairground ride / decaying metal structure. Helter Skelter: It’s a long way down from the top... A1 in a dark drum n bass vein, with distorted vocal snatches meshing with the crazy-distorted kicks, all deftly eq’d to fill the space/ open it. Drums transform into clanking frequencies and phased and shifted noise. A2 more overdriven synths and noisy percussion, plenty of bass, again a full sound but enuff dynamics for the shades of distortion to breathe, a ravey hardcore number to test the sound system all the way. Great speed changes of pitch and decay. B1 more glitchy and slightly slower than side 1, similar control of distorted filters and a bubbling cauldron of bass. Ringing overtones carry the melodies and harmonise with the skeletal rattling percussion to great affect. B2 a glitched rattle of percussion tumbles over and over, then even more glitched shuffles warp and stutter, while highly focussed hot frequencies emerge and tear apart, dense siren tones full of overlaid frequencies.Tough as you like with a fantastic frequency sense tuned in to some wild and inspiring drum programming. A highly recommended record, very futuristic approach to harmony and rhythm throughout.
(From Rupture mag, check Random Artists on the web)

Enter once more the decaying and propulsive world of Zhark, where gothic strings rise from the crypts and hang lingering in the haunting fog as driving metal shards of nails rain on the entoughened listener. Shrill and carefully sound staged breaks tumble and crash at rapid pace. The tracks progress nicely, stopping and starting to keep the tension and dynamics high, with a claustrophobic and relentless production and a compressed low fi ethic that enhances the horror nicely. Dangerous and stressful frequencies sometimes fill the space and the beats battle through, at other times a clarity emerges to wake the listener from a vivid dream, before the breaks scatter once more. Check!
(From Rupture mag, on Random Artists website)