Review: Eprom is not only a close production partner of Alix Perez, but he's a reliable source of slower yet possibly even heavier sounds for his label 1985 Music. 'Dangerous Sound' gives you a hint what it's about from the name, and this tune is a halftime monster of frightening proportions, a glitched out and messed up number that has one goal; to blow up the dance. Basslines cut through each other, synths overheat and the overall engineering is on another level; typical Eprom and vintage 1985.
Review: This one is dedicated to all the giddy aunts out there! 30 tracks of forward-focussed bass innovation from one of the most influential shows to have emerged in recent years: Noisia Radio has helped to expose so much exciting new talent and here they bring together just some of the highlights. Ranging from super experimental to absolute gully gold, among the big hitters from Noisia themselves we have trippy, drunken freestyle bass from Bleep Bloop and Tsuruda, savage break wizardry from the likes of Howitzer, 23rd century spooky funk from Samba, beautiful glitched-out steppy funk from the mighty MRSA (AKA Mat Zo) and absolutely loads more. This is an immense package of tracks right here. Just like every Noisia Radio show.
Review: Based in Portland, futuristic bass music producer Eprom teams up with 1985 music for his brand new EP entitled 'Drone Warfare'. With early support from Mixmag, this EP takes a unique approach to underground electronic music in general, focussing on the unpredictability of industrial musical elements. The title track is a rollercoaster, with incredible layers of artistic sound design coupled with subtle rhythmic elements and creepy atmospherics. Next up 'Raw Data' takes a more hip hop approach with industrial percussion running wild. It gets even cooler with 'Oskana' which brings even more twisted synthesis to the table, leading perfectly into the syncopated genius of the final track 'Full Mag'.
Review: It's been almost ten years of Eprom music already, and it's about time that he was called up to Alix Perez's 1985 Music, an imprint which takes it upon itself to release the most wide-eyed forms of bass-heavy music known to man. This one-track killer, "Oksana", is a pleasure from the first beat touching down on the speakers. Spewing a hip-hop sensibility from all angles, and guided by a vicious, ringing bassline that screams to be plaid out at some absurdly high volumes. Propah gear.
Review: Exclusive overload: while some labels like to solely wrap up their existing content into a compilation, Hospital request freshness from their troops. In amongst the 60 tracks on offer (yeah, 60!) there are no less than 25 brand new cuts previously unavailable until now. From the breathy, horizon-glaring bliss of Fred V & Grafix's "Constellations" to High Contrast's first original in well over a year "Calling My Name" by way of Krakota's pulsating gully stepper "Lust Thrust" and Ulterior Motive's darkside creeper "Oddness". This is - without question - one of the biggest, most bountiful Hospitality albums so far. And let's face it, they're always pretty special anyway.
Review: Dutch label Rwina drops West Coast bass merchant Eprom's latest killer slice of minimal freakery - the simply stunning "Regis Chillbin". Based around a very lean eat indeed, Eprom fleshes out the tune with some stunning and heady arpeggio stabs, creating a Oizo/Brainfeeder-esque randomscape that's just absorbing as it is gonzoid. The peerless Machinedrum drops yet another essential remix - working respectfully with the original but adding even more samples into a descending pattern of pitch-adjusted wonkery. Quite stunning and very highly recommended.
Review: Eprom; a memory chip that retains its data when the power supply is switched off. We very doubt this particular Eprom ever switches off; his tracks are bursting with so many ideas, twists and treatments, he's something of a whirling dervish. Just listen the Aphex-level insanity on the album opener "Center Of The Sun" and you might well agree. Further on we find a subverted contemporisation of the Dead Prez approach to hip-hop in "Hurricane", we get sideswiped by the dream-drenched arpeggiated harp majesty of "Super FX", we get committed as we throw physically impossible shapes to the galvanised growls of "Screwface", we get drenched in sopping wet bass on "Moisture" and we crash land on a whole new planet with the rapid 8-bit finale "Wizard Island". Essential for all fans of the US beat movement, each track is a short, sharp snapshot into the mind of one of America's most forward-thinking bass scientists.
Review: Picking up props from all and sundry in the beat scene, Eprom makes good on the promise of his many singles and drops a full-length workout for Rwina. There's a manic energy that positively leaps off his tracks, as the hype of juke drum programming meets the flat-footed funk of hip hop, while the rest of the sonic matter comes zapping in from a realm inhabited by dead Game Boys (check "Prototype") and decaying DAWs. The production is realised with devastating clarity, and even when a little space opens up (as on the excellent stalk of "Can Control") Eprom's imagination still fizzes and crackles around these tracks.