Category: SOG-BLOG

Circulatory somnambulism

Posted on by Spirit of Gravity

August 2024
The Rossi Bar

Marienbad
Someone in the audience described them as like being tuned into every radio station in the world at once. It certainly starts with a static-y screechy pulsating loop, dial spinning shortwave blasts of voice and tumbling notes. There’s a constant shift, one second glitching repetition , the next a spool spinning churn through the entire universe. And just as you’re used to that they’ll settle on something, letting it run for a while doing its thing – whatever that is – before disrupting it with squeaks or burbles or a shard of noise, a spurt of tone. It all sounds very tape based but is in fact sourced off a laptop. There’s even a short burst of “The BBC has shut down” sinusoidal tone, which they are far too young to actually know first hand. For a brief period we actually have a rhythm, a pseudo repeating pattern of bass drum, beep and grind. The set ends with a call to revolution.

MelJoann
Plays another intricately arranged AV set, integrating inspirational videos from her Mustics wellness cult into backing video for the songs. She also plays a keytar for part of the set. The songs are a mix from her past centring around “Assfuck the boss” from her first album “HR”, we’ve got a couple from the as yet unreleased new album. The second Mustics break channels the 80s adverts from the Sigue Sigue Sputnick album really nicely (the drum sounds and stabs are amazing). Mel looked confused when I mentioned this. Anyway if you haven’t seen MelJoanns disturbing RnB nightmare of modern life I really can’t describe it – I’ve tried and failed the last two times she played – watch the video.

Simon Pyke – Four Flex
Interesting software, it would have been good to have this displayed on the projector. Not Ableton, that’s for sure. Before his set he has something odd just shifting about in the air for about 15 minutes. Then his set proper starts. Beats, 4/4. Loops as texture, wind whistling witters. An odd take on techno, based on repeating sounds and textures: field recordings, tones, delays. Clatters in vast rooms. Vamps. La Dusseldorf in a new context. Some interesting use of pure sounds being wiped around the ears. The beat is front and centre, but there’s some really odd things going on around that, then you get some “nice” keyboard parts that distract you from the odd choirs, and tortured sea-life. The white noise slurs, and peculiar bass tonalities.



It’s all part of the selective unconsciousness

Posted on by Spirit of Gravity

July 2024
The Rossi Bar

It’s a very quiet start for Bagombo Snuffbox, I can hear some flute music possibly leaking through from upstairs, or maybe one of Adam’s tape loops, or maybe it’s this growly glitching backwards voicing. But possibly that comes from Gary’s laptop. Everything gets munged into the spiralling effects chain anyway, to curdle away like that fermented foodstuff that’s so good for you. It was a flute! I can tell as it comes back over a steam train reversing into a spaceport. Something vast slides by surrounded by burbling synths. Loops of ¼” tape are switched around with those lovingly set up on a stand. Dinosaurs are loosed. The tape is manipulated by hand, sounds slur or speed up. Rhythms generate themselves in the effects chain. There are little radiophonic spoops of synth like tugboats attending to the still emerging starship while a Tannoy quietly mutters to itself a couple of miles away. At one point it sounds like short & improbably fast games of table tennis are being played. More odd little half melodies emerge from open ports as everything slides past. The duo are constantly at work fidgeting away at things, nudging and knurling. Towards the end a worrying rhythm starts, against paper tears, balloon squeaks and thumb piano which swirls away into hand rewound voices, synthy smirks and a railway terminus announcement. Then, Adam: “See it, Say it … Sorted..”

Bye Bagombo

Next was Teashape, solo rather than the usual duo (one half is in the North) the set started with technical difficulties and earthy crackler somewhere in the chain, later deduced to probably be after the looper, but it wasn’t to be found. Fortunately, the interference it provided died away quite soon into the set. The chain was fed by some broody soprano saxophone lines and reverb-y guitar. There was a laptop providing some backup beef by way of rhythm, piano and drones. And the bass really hit the PA’s sweet spot. Rosie also sang, not something we have too often. The first song becomes unstructured quite nicely at the end, spoken vocals and surrounding sounds falling backwards into seascapes. The second song starts with a chiming guitar loop and vocals. The soprano makes a sorrowful appearance; sad and distant. The interleaving lines bouncing well together, then she’s back on the guitar for the remaining verses. Again the sea closes the song out. The computer decides otherwise and overrides that with a jaunty folk song. The sea however takes into the next song with a long harshly picked guitar loop and harmonica from an evening jailhouse somewhere. The guitar seems to turn into a dulcimer, tonally, to usher in the vocals. Then some monster bassline humps in, with a subtly ticking percussion. The guitar sings out. The final brief section is all about the low key backing track, all slippery backwards slides and bass and voice.

Bubble People has a teeny keyboard on a small flight case on the usual tables we have at the Rossi. He starts with a harpsichord-y line, again the bass is well tuned to the PA, and more singing! The harpsichord is like the lead instrument in the Get Carter soundtrack. He’s not afraid to turn everything backwards in the breakdown either. An evening for reversals and voices. There’s something of early 2000s loungecore turned in on itself about the first song. The second starts with fast arpeggios falling over each other in a psychedelic tumble, followed by a mutated Italo piano and some piercing space pads. The track seems to operate at three speeds, I’m reminded me of the confusion I felt the first time I heard “Playing with knives”; that sense of not quite knowing how it works. It falls into a 21st century breakdown: muted basslines and skittering beats, and delayed piano without that transition being remarkable.  The third song is all sonic bass and imploding radiophonic swirls, and fast ticking beats with more vocals. The next track falls again into two speed slow motion, super slow basslines, superfast beats, and delay confused pianos and synth riffs. The final song is about a hundred-year-old tree being cut down. Starts with pings, tape spools and more delays before storming into a rave-up stab-y synth riff, the beat builds up slowly under it before the kick stomps in. the rhythm track plays due homage to the Detroit masters, little Flexatone warps and subtly timed snares and layered bass drums. A really nice set of 21st Century psychedelic techno.



Graham Dowdall aka Gagarin 01.08.54 – 16.06.24

Posted on by Spirit of Gravity

We’re sorry to have to let you know that Graham Dowdall, aka Gagarin, died on the 16th June. He had been ill with cancer, and amazingly his last two shows in Brighton were while he was undergoing treatment, including this one for us back in April:
Gagarin Live at The Spirit Of Gravity April 2024 – YouTube

We first met him in January 2008, when he played for us at “The 3 & 10” in Kemptown, during one of our lower points in terms of audience numbers, but something clicked and he returned many times as both a solo artist, as part of Roshi (feat Pars Radio) and in a duo with David Thomas in a special show at The Coach House in Kemptown.

Anyone who chatted to him at one of our shows will know what a lovely man he was, and considering how much cool stuff he’d done, remarkably humble. We’d recommend reading this interview with him:
bassmidstopsandtherest.substack.com/p/no-18-graham-dids-gagarin

Then check out his last album, including a track written up at Stanmer Park during the Sound Plotting event…
Komorebi | Gagarin | Geo Records (bandcamp.com)

It’s really upsetting to lose someone like this who still had a lot to give, he was already working on his next album, and an autobiography that would have been hilarious & endlessly fascinating.

Sunscapes

Posted on by Spirit of Gravity

June 2024
The Rossi Bar

Nylon Prawn, Alistair & Nell, electronics & vocals, cornet & tap shoes! The first piece is largely radiophonic synth burbles blending with effected wordless vocal like whales singing to dolphins across vast distances. After a gasping peak it picks up momentum, tumbling away, and flattening out in breathy cornet flutters and synthful swirls. Nell gives a bit more form to her vocals for the second piece, and Al provides a disarming, warping synth sequence, all unlikely intervals, slurred and detuned, that slowly forms into a one note bassline with Nell singing over it. Drums. It becomes more insistent, hypnotic as it progresses, then slumps and boom: an evil bassline and a massive reverb-y kick stomp right in, Nell giving it blues diva over the top. There’s a nice quiet squelchy interlude with Nell back on wordless vox. A beep-y sequence starts that Nell interacts with very nicely that leads to another thump-y kick and occasionally bass tone. This warps into full on space vocals then a beat comes in, fully rounded, syncopated even. Nell bounces off it, scatting then gets back into singing mode again. The cornet gets some action at last. It swings round itself, in speared delays, bouncing to and fro.

Andrew Greaves was next up previewing his new album, our biggest selling physical format release (thumb drive). Against a firm wind Andrew starts with drones, drones that move into runs along the keyboard and back into drones. Beeping sequences spark off their heavily delayed selves, The beeps slow into a melodic line that via a grinding sound builds back into another bouncing sequence. Over this he runs a pair of melodic lines that eventually disrupt the sequences into minimalist basslines. Then again down into space whispers and mesmeric eastern scales. This third one is a slow builder, unfolding, slowly morphing as it progresses. Possibly the most complete piece of the evening, a hint of psychedelia and perhaps a touch of field recordings. And we finish on a very slow coda.

And for the evenings climax, Perry Frank with a very nice borrowed Vox guitar. He uses this and a synthesiser to feed an interesting effects chain. Preloading them with shimmering, pulsating washes. We can see some quite fast strumming or picking that results in a slow cascade of almost static tones. The first piece seems to have almost no dynamics at all, but manages to shift along quite beautifully. Sonically summoning up a cathedral cosmic vastness with slowly shifting shining notes winding through. As the first piece fades away we feel a pulse pushing through it, the guitar returns in crashing waves. A roaring full bodied crashing with a machine whining whirr pushing through. As the waves subside a drum track lumbers into consciousness and synth squalls cut into us. As it develops it conjures up images of a vast clockwork (yet vaguely organic) Godzilla. The volume drops down to a tense few minutes of uneasily quiet trilling. Distant shrieking metallic plates start us out of our reverie, a thrumming spaciousness of treble wrought from the guitar before he gets back to working on the tidal electronics. Again down to a gentle slowly pulsating guitar wash lapping rhythmically at the shore, that slowly evolves into a multi-layered drone – all light aircraft and light – to end. I haven’t really expressed how close your eyes and let it fill your mind beautiful this was. But it was.



Caught up

Posted on by Spirit of Gravity

May 2024
The Rossi Bar

I O M starts his set with a pulsating rattling over-reverbed drum, like Stomp playing at the end of a long tunnel, a long washed out synth drone drives over it, hissing and echoing. Occasionally everything falls away leaving a gentle sine wavy pulse, the ghost of the drumming beat, but it all comes back again. The next track starts with a much slower lopsided elliptical rhythm with drums on one extremity and a monstrous buzzing bass on the other. And endlessly delayed stabbing riff provides melodic interest before getting lost in more delay. Somewhere in the middle of this track it all gets lost in a swirling turmoil of echo feedback before the riff returns and is lost again and again. The third starts with a slow attack bass one note bassline, some muttering from Iker and an old style industrial rhythm that ups the tempo again. A shout into distortion and reverb by way of a breakdown and then back to the groove. Then a breakdown to a staggering staccato squeal, set against a pinging hammered metal sound are set against the bassline. The drums don’t seem to quite come back. Everything circles itself swirling round delays , pinging, bass pulse, delays, pinging delays, delays… The next kicks off like vintage Mark Stewart and the Maffia, vast bass, big distorted beats at about 130bpm, a right groove. Indistinct vocals lost in delay and gurgling. The vocals drop an the snare just keeps getting bigger and more distorted, a machine whirr comes along. A slow down again a different groove with syncopated percussion, floating alongside the washes of hiss. The washes overrun, warping beeps and squeaks integrate of the bass, a noisier Masters At Work. Its time for the bass to go all distinct in reverb now. There are drums here and there that coalesce into a beat after a while. The npoise ramps up behind the beat, layers of distortion, siren and growling, drop and build again – nastier. The final song is another vocal one, something like trance swamped in reverb and racket, with I???? growling over the top.

Second up was Faex Optim, the Scots filling in a tasty London sandwich, it’s a name most accurately pronounced phonetically in a very cod Scots accent. Starting with a boing-y bass drum, toy piano note offbeat, joined by arpeggios and female voice washes, and interesting beats, a cleansing refreshment devoid of distortion to clear the mind. The second has a one note piano / synth line modulating in and out of attention, joined by a bassline of equal seeming simplicity that reveals surreptitious shifts, the shuffling snare & cymbals rattle for alternate bars, giving a slight stagger to the rhythm, a stringy pad heralds a drop with a quiet single line from a voice and then back with an ecstatic lead line lost in reverb. The third starts with a radio voice, minor piano chords filtered and slightly warped. A slow windy chugging builds then a fat bassline drops with the beats. The beats and bass disappear leaving entwining lines of piano, washed out chords hanging in space for a seeming age before the rhythm bounces back in. the next starts with a toppy bass slowly ascending, before a deceptive bass drum and clicky cash-register snare come in, another submerged female vocals hidden amongst the circling keyboard parts. We get Wes to turn up the volume a light amount and we’re back with a fat droning bass line that warps into a buzz as the kettle rattle drums start, there’s an ascending piano part that heralds a sudden suspenseful pause before restarting again. The drums drop and the piano part continues out into reverby space to end, then we’re into a murky lo fi organ for the final track, this is underpinned by a razor sharp string sound swooping again from space for a cavernous bass / bass drum a hesitant synth part attracts attention so that a pinging space echo line can weave away. The drums lose clarity at the top ends for a new hi-hat line to come in, the space echo drops down into a lower register, developing into the new bassline. And it all rides out on a repeating piano motif.

I only gave you Faex Optim’s pronunciation so that I could tease you by saying your guesses at pronouncing Kinga Janicka will be wrong, the Polish “c” at the end is something quite wild. You’ll need help. Any they start with a cloudy whirring delay feedback, soon joined by a harsh ticking hi-hat & syncopated heavily reverbed bass drum that kicks like fury. Kinga rides this groove for a while, with some gentle tweaking to the noises before a running train grind comes in and the bass drum morphs around. More rhythm detail before an decayed orchestral stab offbeat and cowbell and space laser pulses join in, the balance is constantly shifting the noisy murk has separated out into its constituent parts. Threes a doubling up of the bass drum, scraping one of the noises has a definite squelch to it now, then after some scraping gets proper acidy. The erst of the noises blast one, the energy levels pick up a bit more as the bassline switches and the hi-hats drop to a more conventional line, the acid squelch drops and another bass moves in to work with it, a fierce top line heralds the breakdown. It blasts back with a four to the floor bass drum before the other percussions starts to twist around it. Energy levels are up around Automouse’s from last month, but without the overriding distortion. More rhythmic parts come in, the kick gets more complex again and the pressure starts to build again. Another drop to a bass drum, then a machine grinding groove motors off with suburban doorbell beeps  and rubber band thrums giving energy and a drop down to a passing train and farm machine, and a nasty cymbal synth beat distortion to something else brings in a wall of reverb that seems built around a bass drum.  The wind is up to gale strength, the bass drum is lost a a sound like rave stabs from 3 warehouses across joins in, clarifying until you’ re in the room in with it and then it modulates off into a synth riff, and rattly percussion  starts up and the stabs are back. Slowly bit crushed to grit. A gated swooping rusting screech adds Morse dots, everything seems to degrade at this point, filth. The bass drum has slowly got more distorted and reverbed as it drops and comes jumping back. All the lines continue to morph around each other getting increasingly delirious as they go.  Theres a brief period where things start to sound more normal before a dusty, bitty synth line starts. The bass drum starts skipping the occasional beat to add tension, syncing squelching synths push everything along as the rhythm falls apart, pitches rise and tweak, new notes added to existing lines, parts dropping out to return inverted or stuttered, the sound seems more stripped back, but staggering, resonance maxing out, the bass has somehow slowly risen back into consciousness on the 16ths speeding away, and then down to a bending twisting maelstrom lost in reverb and grit and murk.



Invisible friends can be real friends, too

Posted on by Spirit of Gravity

April 2024
The Rossi Bar

Starting the evening we had I’m Dr Buoyant with a set founded on his heavily sample based new album. Its starts with a loop of what sounds suspiciously like half a John Barry orchestral phrase, with a tension building pause, superseded by a looped short orchestral jab. Finally Tony gets stuck in with some effects and a switch around with another stab, the two of them circling each other, with pings and whooshes. Another layer of brass on a much longer loop. The delays make it all a bit delirious. Then suddenly it’s into a slower more sonorously lovely phrase. Hmm oboes… and chimes, looping, looping, near repetition breeding disorientation. There’s a guitar phrase almost identical to the chimes swapping with it set against distorted seabirds. Some speech sits just above a slowly circling whistling breathy wind, the whistle goes and it all gets more ominous until a thumped beer bottle bang! Bang! Bang! Pause. Offset against this a distorted string does a slightly delayed matching rhythm. They both briefly step up. The sound is thickened with delays and slower sounds, bass hums. The rhythm steps up against. Its nervous, twitchy, some quick synth-y burbles. Insistent. Space laser zaps. There is a slow build-up of waves and an ominous undercurrent of delay feedback that swells to the end. The whole set is a really disorienting psychedelic repetition, slow evolution and textures

Gagarin starts his set off quietly, water, slow pads, before the warm middle-y arpeggio starts up set against whooshes and what must be called a pretty banging beat comes blasting in – uncertainly at first, but then pow. Bass drum pounding,pinging percussive sounds, the occasional tinging hi-hat. A cold long note, slowly evolving timbre. And a strong humming riff. It’s taken the recorded version of the track and used it for something much more insistent and driving. The beats stop and we have an almost jazzy set of flourishes out to end. The second track starts with beachy steps, or wet leaf steps, perhaps. A drone starts up, pulsing, bass-y, a thinner slow melodic line, matched by a lovely reedy counter line and then very electronic synthesiser, all working together building, watching, ticking hi hats tickle in, then the booming bass drum: boom boom  boom bdum. More relaxed this time if equally big, then a big sub-bassline that rolls up and down its notes. Everything now drops down to the rhythm tracks. A scratching over them. The melodic lines come back imperceptible until suddenly you notice you’re in the middle of them. The third track starts with a repeating nasal synth line of a rattling tonal electric motor synth. Birdsong and a fast hissing hi-hat pattern, followed by quitter shapeless bass drum, and staccato snare, the synth figure keeps going and the beat speeds along. Super low bass synth line pushes everything along even harder. Graham tapping away on percussion lines, interweaving, a choir sample “oo-ahhs”. A bit more of that birdsong, but this feels a long way from the mellow ambience of “Corvid”. The track segues almost seamlessly into “Stanmer” starting with slow piano notes echoed against the birdsong, it’s a stunning piece he conceived up at The Willow Dome on what is now the Eco-musicology project site at Stanmer Organics. The piano line continues, almost a repetition, but each time through slightly different.  A string pad slowly underpins the piano, and eventually a slow drum comes in, again not quite looping, hi-hat, and then a synth line that follows the piano. It gently eases back out to the slowly dissolving piano and birdsong. A set that worked really well in reverse to what almost anyone else would have done.

And finally we had Melancholic Robot Tantrum easing into his set with a pure warbling set of reversed bell like tones dodging round each other, then a stately buzzing bass in foghorn timing. The bells drop a couple of octaves and then a monster mid-tempo beat kicks in along with some detuned rhythmic synth noises. Hi-hats pick up the energy. Then a vicious noise synth ramp. This is the main melodic component. There is a slightly malevolent air to the piece, it lives in that place where you aren’t sure if it’s repetition or s l o w evolution., the rhythm cuts out and three or four delay feedback strands carry us into the next track, identified by a thunderous jungle rhythm and noise bass. This is driving. Full on, the noise synths just adding passing juggernaut washes. The bass solid. There are no breakdowns, just powering through. The melodic line here provided a metal on metal screech. At some stage the bass breaks up into a cut staccato 8th note battering. The rhythm eventually just falls apart. The next starts with fast pulsing bass and hammer snare. The drums sourced from abstract sounds this time round. Odd noises rhythmically punctuate the bass. Eventually a hissed beat murks up around the bass, and everything morphs to let it in, then a much slower almost Laibach rolling beat takes it out. Everything around that becomes sparer, dubbed punctuation. Then a lighter jungle rhythm floats in. The density overwhelms us then thins out suddenly. Ending on a bass drum, voice (?) and more feeding back effects. A slower D’n’B beat starts the next track with an even slower march beat restraining it. The bass is a double off beat, the drum track evolves quickly, new snares endless changes, the bass coarsening in sound. Its fast/slow, head-nodding. The next one starts with a superfast thrumming bass, syncopated drums work around it, some nice white noise snare, rising synth notes. A breakdown at last for the drums to get all Drum and Bass-y again, and then another build. Some squelching, and a rolling interlocking set of sounds driving us on, the bass thickens , expands and dominates turning into a continuous rumbling morphing note. Another breakdown for something that sounds like a version of the Get Carter soundtrack recalled in a nightmare, while a racketing build builds up hysterically under it. And it all ends chaotically again. We have a few minutes left, unexpectedly, so another track is done, but it takes a while to find. It’s another junglistic monster, this time the rattling fed by drones and pads. This one has a lot going on in the beats they evolve and change constantly. The drones are more subtly altered until you realis that everything is this nasty noise and then some squelchy bass starts in and the drums scatter and everything stops.

Many thanks for the video shot by Tony Bowall:


Midnight in a very slow universe

Posted on by Spirit of Gravity

March 2024
The Rossi Bar

With travel home to Worthing being what it is, Olivia Louvel wanted to go on first, so we start the evening with a mix of her songs on Doggerland, Barbara Hepworth and older pieces. It’s her first show since before the COVIDs, it starts with a recording of the voice backed by thin washes of synth, joined by a percussive jab stabbing in fours or fives. Olivia interacts with her projected visuals (herself, lines). Doorbells. The next starts with a much warmer drone and typewriter bursts. Again, Olivia’s voice. A breathy stab. Olivia briefly sings her voice soaring above the mix. Mostly she speaks, her voice warmer. There are layers of vocals. A breathy synth riff plays against her speaking. The third starts with a more insistent mid-range riff that she sings against. Some proper sub bass and synths curl around this. A nice sonic rhythm to start the next one, a foghorn and two whistling steam escapes, strings join in with Olivia’s voice; all interlocking. No drums yet, but this the most rhythmic piece so far. Insistent. Vocal hi-hats: Chssssh ch-ch-ch. The next song picks up vocally from the end of the last, acapella. She tweaks the feedback on the delay, riding it just the right side of feedback, a gurgling bass starts and a slow bass drum on the ones. The gurgle evolves to a judder with a full strength bass drone building underneath. She sets up some kind of stutter on the vocals and it stops. Computer jabs preface a drone and speech, vocoder-y whispers, its very machine language. Modem, rewinds. Card readers; teletypes. The last song starts with a percussive interplay between bass and pinging trebles under Olivia’s singing.  The bass bends. Her voice loops and layers up. The bass line develops and warps

[Something’s Happening] are seated facing each other on the stage across a table. Iris reads and Daryl plays. Well, they start whispering, sound creeps down from understairs, it takes about 5 minutes before something like audibility is achieved. Slowly the electronics come in, or is that the fridge, no it’s definitely from the stage. A snatch of words, back and forth jagged hum, phrase, jagged hum, phrase. I believe she’s reading from a book on critical theory from a conversation after. After reading a page she tears it out of the book. Or did I imagine that. Other sounds come in, a pinging bell. The buzz shifts pitch. Iris’ voice is warm enveloping, I can’t yet make out words, but it’s a comfort against the coldly formless electronics. She applies affects to her voice. A subsonic thud about 30bpm starts, and she bounces off it. A feedback emulating synth tone starts, a gentle melodic clattering rises underneath the electronics. The words are now completely lost to me, its just a human tone, with the rhythm of speech, or something like it – messed up by delay and reverb. Communication is lost. The drum has faded. There are layers of clattering now. A guitar based drone slowly comes into our awareness and the clattering fades to be replaced by a slow chime. “Stop”; a word breaks through, but then its lost again. More notes are added to the chimes loop. It turns out to be the guitar again. Iris just lets her voice loop now against dystopian discords and buzzes. The thud has returned almost building to a perceptible rhythm. The guitar is more guitar-y now, pinging away through languid delays. Iris starts to layer her voice. The beat goes and it winds down, her voice stuck in luxuriant Max Headroom stammers.

Finally, Automouse to bring down the house. Its starts with a buzz, then more buzzing, a distorted doorbell riff, a crunching  bass drone. Then the beat thunks in bass drum staccato, switching to white noise snare, the drums drop for a nasty bassline. This is generally pummelling, bursts of white noise. Then a switch to a faster dancehall bass drum, driving, driving along. Tearing synth stabs build it up, then swamping everything brings in a synth scale up and then into another hammering beat. A double time bass line, and the bass drum is back to a 4/4. A sweep of a synth again and switch the beat up and then down to half tempo. Full on buzzing bassline that pushes forward then veers into randomness briefly before veering back, then switching again. How many synonyms for driving forceful exciting distortion can I come up with, I’m not even halfway through and the energy levels just keep going up & up. It’s a frenzy of sound, it’s not a wall of noise, everything has its place, it’s an overloaded place, but oh, how distinct every sound is. There’s a bit where it all breaks down to more or less one note quadruple speed pulse like someone thrashing the bottom e on a guitar on the 12th fret as fast as they can, blam into a new bass drum. Syncopating in, this ones dropped the tempo, a bit of relief, hi-hats ticking, then a maelstrom of nastiness, then back to the groove. A winding noise like a Monotron delay (I don’t think it is, but has that energy) that pulverises the rhythm, then its all back again to the groove. The next goes in with a tuneful bottle clank. There’s a bit of breakcore-ish switching up the beats. And we’re into the last number the tempo is back to the max, the bass is switched to destruction, the bass drum is all thud and the snare is an assault to the back of the head, energy levels are through the roof, then the bass drum doubles up, the tempo increases even further and boom, it slams into sweeping delay feedback and end.