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Buyer Rating: 99.5% positive (612 ratings)

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Barouf - Growing Up - 27-May-08 01:05 AM
Talk about evolution, the previous acidic endeavors from Barouf were nice (the split w/Octodred on LES, solo on Neurotrope, Euphorik 01 - that one actually deserves more than a "nice" rating) but this here illustrates a more advanced stage entirely. The records previously mentioned employ only one bassline which, done effectively can result in a pretty good got-damn good utmostfear, but there is another level added when one bassline is played off another.

"Growing Up" and especially "Nantes by Night" are modern and original acid tracks that utilize multiple basslines in a way that is enlightening and mindfucking simulataneously. Mid-tempo acid that starts tame enough but less than halfway thru what emerges is a 2nd line that takes over the track with commanding and tweaking basslines that take the track into unexplored levels. Modern mindfuck acid ... almost makes me want to dose 13 years after the fact.

Wylly - Arsonicum - 26-May-08 11:49 PM
Ill admit, Ive had a pretty hard time categorizing a lot of the harder acid thats come out since around 2005. A good deal of it seems very overproduced; modernistic kicks and 303 patterns that change every 30 seconds (only a slight eggageration) which leave one feeling rather unfulfilled - a thrill that let you down the further you went.

Here Wylly offers something different. The A track demands attention from the get go, with an Acid Line that screams "Ahh! No Breaks!" (thinly veiled reference to Total Recall) and does not let up until the end. Coupled with the hardcoreish tempo and fucked up/complementary dark synths you have the makings of a truly brilliant piece of music. This is one of those tracks that is dying to be played at 4AM in some dirty warehouse in a bad hood circa 1994.

42 ° North - Cordless - 09-May-08 10:47 PM
Mother-fucking Acid technician Sascha Fox may be the most underrated producer from the early to mid-90s. True his Freax projects were released on major imprints Important Extracts and Drop Bass but whether this uniquely talented artist actually received his due remains in doubt. A discussion of heavily distorted textured and layered basslines (all too often its only 1 303 in the track when whats really needed is 2 to really trip people out) in my opinion has to begin with Sascha. This A side of this record (plays inside out, just like the Freax on DBN) illustrates his talents at their finest with the title track starting out with some rumbling tone acid that is shortly joined piercing high pitched bassline. A2 features two masterfully crafted acidlines with spacing that will leave your head spinning. The B-side is a more dancefloor oriented affair, yet the acid retains its characteristic caustic flavor, albeit that the dualing basslines are abandoned in favor of a solitary synth on both tracks. I dont know if this is better than the Freax double (very few things are, in fact I can probably name them on less than one hand) but it is a very raw and evocative interpretation of acid in the hands of an underappreciated artistic genius.

Outcast Clan - 09-May-08 09:24 PM
Throbbing brutal industrial acidcore, at least in its early days. Releases range from the sublime (Clip Lite - pulsating tightly constructed 170+ acid, shame the quiet pressing) (Four Horsemen - brightly tinted and expressive 303s) to the very good (Damage EP - a live recording of quiet "damaging" hardcore) to the forgetable (early incoherent releases such as Bad Acid and Flying Over Frankfurt). The distinguished professor of acidcore himself, Mr. Steen, even makes multiple appearances on the label in no less a guise than the incomparable Fast Indentities. Later release tend to go a more straight hardcore or even speedcore route but do include a memorable debut by Hammer Damage (of Sensory Violation) on the Ground Zero EP. All in all a very worthwhile exploration into one of the earliest incarnations of fast and distorted acid.

Black Lung - The Depopulation Bomb - 20-Feb-08 07:59 AM
“Inner city slavery fostered by the government’s latent drug dealing,” the sample from “The More Confusion…The More Profit” proclaims. It’s one of those headlines that, much like this loud and militant album, makes you want to smash and burn society and everything it stands for to the fucking ground. Walmart - check, I can see plums of dark smoke billowing from the useless trinkets made by one poor worker in China to be sold to another in Appalachia. A Hummer dealership – yeah, as those gas guzzlers explode one by one the crowd roars as the ruling class runs for cover. An Exxon oil refinery is seized and dynamited from the inside, ceasing production at once. One of those asinine baby superstores that sells baby sweaters for $125 a pop is singled out for particular vengeance – its CEO and Board of Directors are forced to wear baby-sized sweaters and drink formula as they are paraded down Main Street. Next up is the New York City socialite crowd, the wine and cheese circle that made the lower East side uninhabitable for purveyors of hard acid – both vinyl and drug. They are given 10 hits of government issued liquid and forced to listen to every single release from 1993 on Direct Drive, Labworks, Analog, Djungle Fever, Drop Bass, Kill Out and Djax. No one makes it through the night. Even a law firm having the nerve to say it represents the interests of the working class all the while representing government employees pulling down in excess of $60,000 per year is not spared. Its offices are torched and its precious paintings are defaced in the most vile means imaginable. The final target is the White House itself. Little time is wasted here as a tank demolishes the edifice with several precise blasts. Erected in its place is a sweatshop where the former President and members of Congress are forced to work 16 hour days sewing garments without meal or bathroom breaks. The place is poorly ventilated and there are inadequate fire escapes. One day it catches fire and burns to the ground sparing no one. People rejoice.

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