Raw M.T. on Lobster Theremin label with three thundering granite slabs of techno and house. The spirit of US house genres raises it’s head once again, fuelled by a raw, scorched-earth production aesthetic coming from the deepest lair of the Italian producer.
For his comeback release on Ukraine’s Wicked Bass label, the gloomy producer hiding behind the alias Raw M.T. presents another set of trippy, yet noticeably simplified masterpieces of 90’s E-werk informed analog techno. ‘Falling Into Nowhere’ with its melancholic xylo drops and Twin Peaks infused pads takes us to a setting of descending sadness, while random peak leads and swinging hats on ‘Abductions’ and ‘Essense’, in contrast, contribute to a much more dancefloor-friendly and optimistic picture. Three fine cuts that will work both at peak and afterparty time.
Raw M.T invite us on a trip to Planet G – a far-off netherworld populated by dystopian grooves, icy synthesizer melodies, weightless chords and stripped, deep space grooves. The journey begins with the first untitled track, a picturesque combination of raw drums, looped, Tangerine Dream style synth lines and spacey electronics. It’s closely followed by the restless ride cymbals, ultra-deep beats and drifting pads of “Track 2”, before “Track 3” signals a sense of impending doom via reinforced kick-drums, creepy chords and metallic percussion.
The second Mork release finally gets out of the blocks, helmed by Italian analogue explorer Raw M.T. With some seriously heavy cuts under his belt, we coaxed him out of hiding for a varied 12” of low-slung house, dreamy beachside dreams and hammering arpeggiated techno, cut deep and heavy over two sides of wax.
Our new release ”Raw Music Theory EP” is the debut for the young but very talented Italian producer Raw M.T. The opening tune, ”Walkman Is Dead” does, in fact, sound a bit like dismay over a broken piece of domestic electronics. As if the original wasn’t weird enough, it is backed with L.I.E.S’ very own Greg Beato’s remix that would easily make it into one of these fashionable screwed up mixes that everyone seems to enjoy so much these days. Keeping it so lo-fi it nearly crosses the line of DJ-unfriendliness, Greg stretches the original synths, delivering something on the unexpected-yet-welcome border of trance, speed garage and powerhouse. On the flip, a more laid-back and relaxed ”Sara”, possibly dedicated to a special one, takes us all the way back to the Drexciya times.
The Hipodrome Of Music 