Review: Harry Burgess, Tom Howe, Tim Slater and Steven Wells are behind the awesome Adult Jazz outfit, and their sheer magnificence has landed them a spot on Tri Ange, perhaps the best imprint for worldly shades of electronica? "Earrings Off!" is the lead song, and it sits somewhere between classic indie and broken bass music, something that can be said for the rest of this EP-come-LP. "Cry For Time Off" is a twisted ballad of strings and pseudo grime melodies, while others like "Cry For Coherence" manage to mould shades of noise together with ambient and electro-acoustic. We're sure you get the picture - it's indie for those who like it deranged and truly odd.
Review: London's Brood Ma is affiliated to Quantum Natives, but the guy very much has his own sound and outlook on electronic music. In fact, one could say that this new album on Tri Angle is in a category of its own, and that each track stands alone in terms of genre and vibe. There is everything from far-out percussion thrashing, though to broken bass demolition, and a whole lot of noise in the mix. By that, we mean that each track on here is capable of breaking down at any moment, and unleashing a furious swarm of drones and glitches, transporting the listener from head-nodding, to brain-stirring. It is highly recommended, and is surely the bass pick of the week form us. KILLER.
Review: After his last appearance on Tri Angle, FIS is back with more of that wild style production that finds beat productions harried and hassled into fragmented pieces with a heavy malaise hanging over the rhythmic mulch. The strings are the star of the show really, lending a theatrical ballast to the slippery percussion as it attempts (and largely fails) to dodge the kind of processing that could strip paint. There are tense, militaristic moments as on "Womb Dreams", and even wilder industrial noise workouts for the end of days, such as "Fever Sweats". Even through all of the clamouring noise the soul breaks through, as felt in the mystical synth tones that linger behind the front row action.
Review: Rabit's debut on the excellent Tri Angle label out of the US was obviously received with high interest, because he's returned to the imprint with a solid new LP that further demonstrates his explorative, daring sound structures. The mood on this is probably best characterised as 'electronica', but we don't like that term seeing as this LP is so much more than that. Mixing up ambient and broken beats in tunes like "Advent", "Snow Leopard", and "Fetal", this is a listening experience with a sensitivity to the dance. In fact, we can already imagine the bedroom DJ's swinging this stuff out and nodding their heads up and down in dark corners. If you're a fan of Deep Medi, and the darker, more entrenched side of dubstep, you should definitely give this a listen. Quality sonics from start to finish.
Review: It is shaping up to be a most interesting year yet again for Robin Carolan's Tri Angle, a label that is clearly focusing efforts on the current wave of producers bending rhythmic conventions and people's conceptions into compelling new forms. Following swiftly on from the excellent Lotic release, Tri Angle now welcomes Rabit into the fold with Baptizm, a four-track EP that builds on the Texan's previous output for Glacial Sound, Soundman Chronicles, and the newly launched Different Circles. There a distinct swerve in styles as the four tracks progress here, with the ornate calm of "Imp" contrasting massively with the appropriately titled "Bloody Eye" which is a heaving, joyously evil mass of hydro mechanical bass drums, liquefied industrial bleeps and gun shots. The playful twilight grime riddims of "Hex" provide some respite before Rabit veers back into the hyper mechanical drum programming on "Straps" which sounds like it was a lot of fun to produce.
Review: Roly Porter's recent output finally earned him a place in the big league, and his recent remix of Snow Ghosts on London's Houndstooth was a real step forward for the producer, both artistically and career-wise. His second LP, Third Law, comes through courtesy of New York's excellent Tri Angle label, and the mighty "4101" - released as a single back in Novemeber, paves the way for an album full of suspense and surrealism. This is no job for anyone looking for peace or meditation, but rather one for the more open-minded. "Mass", for instance, unleashes boulders of bass and noise over glitchy half-beats, whereas the tunes like "High Places" sound like the inside of an interstellar cruiser, and the sublime "In System" reminds us of Apex Twin's strand of ambient...a cold, pensive bundle of euphoric energy. Recommended.
Review: Having first appeared on Visionist's Lost Codes label back in 2012 with the brilliantly twisted grime experiments of the Unknown Vectors EP, Milwaukee-based producer Sd Laika presents his debut album for Tri Angle, offering an even darker parallel take on the genre than that first EP. Taking in the influence of industrial music and lo-fi experimental textures, the resulting concoction of influences combine to create one of the year's most enjoyably schizophrenic listens, with shades of Actress and Autechre among the early grime references.
Review: After Order Of Noise presented Vessel as a fearsome force within and without the Young Echo collective, Seb Gainsborough brings his foremost alias back for another bout of long-playing exploration, and this time he's crafted a wholly different sound from homemade instruments. The drums rattle and thud with a tacit live-ness, while the synths wail, groan and strain their way through grand and opulent sound scapes to chill the spine and un-nerve the soul. It's a masterfully well-sculpted record with moments of light bleeding into bottomless pits of murk, and it further establishes Vessel as a powerful force in forward-thrusting electronic music.