Simple straight up electro tools by Garum on latest Trilogy Tapes release.
Simple straight up electro tools by Garum on latest Trilogy Tapes release.
A dervish bewt from Stefan Schwander’s Harmonious Thelonious for TTT, Apakapa catches the Düsseldorf-based explorer meeting the moroccan flute of Ghazi Barakat for one of the project’s jazziest, moodily hypnotic episodes.
Far out trip as collaborative effort from Beatrice Dillon and Kassem Mosse. Dillon Wendel is a place for the two respected artists to explore soundscapes, aesthetics and synthesis in pastures aeons away from the dancefloors they’re most familiar with. Both compositions weighing in over 15 minutes, they’re experiences which challenge form and convention; “Pulse” ripples with its namesake, a texture that buzzes and drones in endless waves while “High” mutates a warmer, grainer tone with dizzying effect.
Anthony Naples returns to The Trilogy Tapes with Slice Of Life EP.
The forty -fourth release on Will Bankhead’s highly lauded The Trilogy Tapes comes from Born Free co-founder Samo DJ. Given the Swede’s eclectic approach, it’s perhaps unsurprising that Kicked Out of Everywhere is a pleasingly mixed-up affair. Opener “Bleeps” drags the fuzzy, sparse and bass-heavy sound of Early British techno kicking and screaming into the industrial techno age (admittedly via the broken beats of West London), while “LKF” is simultaneously dreamy, trippy and rhythmically intense. Some may hear the influence of early Belgian techno in the slippery throb of “Medellin”, while the weird, spaced-out “Downer” sounds like hazy jazz after several shoe boxes full of Ketamine.
Samo ‘DJ’ Forsberg continues his assault on 2016 with this killer TTT 12″ as Four Legs alongside Skudge overlord Elias Landberg. This Four Legs stuff finds Forsberg and Landberg partaking in some no-nonsense, heads down machine funk. That’s the flavour for opening cut “Aguirre” whilst title track “Clarky Cat” (Chris Morris reference anyone?) finds the Swedish duo veering off into deeper, psychedelic territory. “Shark” is as marauding as the sea creature it takes its name from, whilst “Clearwater Bay” ends on a more serene note.
London duo Rezzett make it three for Will Bankhead’s Trilogy tapes with this exquisitely packaged. As with their previous output the pair focus in on hazy outsider house texture –all tape hiss, distorted kicks and detuned keys- but what sets them apart is an unheimlich reading of the ‘ardkore dream captured not by drug-addled nostalgia but an exciting future, the thrill of possibility; this is rave music for 2016.
You could never accuse Parisian artist Coni of releasing too much music; to date, the ClekClekBoom-affiliated artist has released just three EPs in four years. Clearly, these releases have impressed The Trilogy Tapes founder Will Bankhead, as he’s snapped-up a four-track EP from the talented French producer. It’s the A-side that sparkles the most immediately, beginning with the curious looped sound effects, slashed jazz chords, swinging rhythms and bubbling electronic hits of “Into The Silly World”. Arguably even better is “Zex Plongeon”. While not as thrillingly unusual as its’ predecessor, it feels more obviously tailored to club play. It’s creepy, deep, drowsy and tense, with slowly pulsing chords and ghostly textures stretching out over a tidy techno groove.
Under his Chemotex alias, Marcos Cabral has been one of The Trilogy Tapes most productive artists in recent times. Thulsa strives to get a balance between becalmed techno hypnotism, skuzzy grooves and gently melodious intent. This blend is perhaps most satisfyingly mixed on the industrial-tinged clank of “Delta City”, though the woozier, scuffled late night warmth of “Music For Security” pushes it close. Twice he heads towards deeper territory; first on the title track’s trance-inducing synthesizer loop groove, and secondly on the dubby, locked-in tech-house majesty of “Lorentz”.
To the uninitiated, Zennor is Bristol pair Andy Mac and Peverelist and on the basis of this debut release for The Trilogy Tapes, it looks to be an opportunity for them to approach the form of club music from a straighter angle. Indeed, there is certainly a less complicated feel to the three tracks here and it’s no bad thing, with a certain Newworldaquarium charm to the manner in which lead cut “Never In Doubt” gracefully covers the A side. The slippery broken beats which surface deep into the production’s duration are perhaps the one concession to current Bristol dynamics. There are hints of Detroit in the chords and keys of “Storms” whilst the brief, twisting “Tin” is perhaps the closest thing to Livity Sound here.
Ekman makes his TTT label debut with some crushing electronics. The Entropy EP finds Roel Dijcks expanding his palette further. There’s a sense of abstraction throughout all four tracks here, with notions of rhythm only loosely adhered too, with the overwhelming sonic pressure of “?0” and “Dissipation” offset by the lighter title track. Closer “?S” veers into the crawlspace between the insectile sound design of Mike Parker and the lysergic hardware manipulations of Hieroglyphic Being.
Anthony Naples hooks up with Bankhead again for what looks and sounds like a sequel to last year’s much loved El Portal 12″ for The Trilogy Tapes. Apparently named in honour of the hospitable reception young Anthony received whilst playing a party in the Columbian town of Zipacon, this four track release opens with “Perron” which sounds like previous Naples hit “Busy Signal” hollowed out. From here, “Zipacon” feels like a real high point with fizzing, intricate drum patterns and a warbling pad line that really captivates. Flipside cut “More Problem” offers a undeniably booming interlude before Naples gets really bugged out on the excellent “Crazy Spirit”.
Dario Zenker on The Trilogy Tapes with some gritty techno tunes.
Following on from his releases on Fabric’s Houndstooth label, Call Super takes his contemporary take on low-slung, lo-fi referencing techno to The Trilogy Tapes, dropping this three track EP under the Ondo Fudd moniker. Hinting at the deeper influences of the Workshop stable together with swirling lysergic synths that provide some welcome melodic relief from the thick, crunchy rhythms. Title track ‘Coup D’Etat’ has the sprightly synths of early Detroit techno allied to clattering metallic percussion and ghostly voices. ‘Harbour’ reflects retro electro back at us through a dust-covered mirror. ‘There Will Be A Time’ reimagines a rainforest populated by robot birds and mechanical creatures.
Willie Burns returns on the great Trilogy Tapes. The title track is akin to traveling in a time machine to 4am on a Saturday night in Den Haag circa 1994 – real grotty basement acid techno! Providing contrast in a way Burnett does so well, the B-side offers two tracks of a more immersive nature, with “She Left In Spring” an exercise in dubby techno as pensive as the title would suggest.
Theo Parrish presents a split release with Sound Signature and Palace Skateboards on the legendary TTT.
The Californian Vereker has a CCCP and a couple of the very best LIES, but this stomping, grisly, suspenseful, four-track assassination tops the lot. You get plenty more prep and purpose, and a load more killing.
The NY duo, DJ Spider & Marshallito, land on TTT with four chapters of toxic, virus-ridden techno-house amalgamations for the bravest of heart. Taking the boundaries of the genre to their very limit and further – another instalment of wacked-out electronics from the London label.
Trilogy Tapes release a new EP of battered techno and skittery sound design by Philadelphia’s Moonraker. ‘Oronimbus’ weaves eerie space-age blips into pattering beats, ‘Plot Query’ judders excitingly like it might veer of course at any moment. ‘Tilt March’ dispenses with the dreamy synths of the other tracks and goes for full on thick and beastly, scraping noise. Yet another incredible release from the always intriguing London label.
Anthony Naples adds The Trilogy Tapes to his growing impressive discography with the superb El Portal EP. A true statement and this is impressive stuff; doling out raw abstract deep house that threatens to swell over on the title track, while “Pueblo” provides a rough downtempo rhythm whose scrappy hi-hats come laden with funk and a jazzy piano refrain. On the flip, “Busy Signal” provides house track whose sweet chords are counterbalanced by a particularly driving rhythm.