Tripping techno continued today on a long player record format and with some occassional house beats. It’s interesting to hear how the tracks and the whole structure of music is changing when it is intended for an album release. It doesn’t feel like an assembly of single tracks but rather one coherent atmosphere and flow of music. Also, motivational brain juice work music for the day.
Definitely one of the best dreamy techno records that I’ve heard this year. It is tripping but still fits a dance floor just fine. Makes me ache for that neon-pierced pitch black box of techno club that we love so much. I miss it badly.
At the beginning it totally starts like some Brandt Brauer Frick record, having all those acoustic instruments, drums, guitars, strings, brass instruments, making all those little noises mixed up with the electronics. Then from the third track it goes fully electronic and creates this wonderful, cinematic journey with pulsing techno, ambient soundscapes, and broken beats. It all creates this great flow even though stylistically it’s not the most coherent album. I’m not afraid to say that it could well deserve a spot on my year-end toplist, even if it doesn’t make the Top 10 it could easily sit within the twenty.
This is a single release but made enough plays that it’s worth making a note of. Post-dubstep bass music, reminds me of the collaborations of The Bug and Warrior Queen. And another record building the bridge between Europe and Africa, this one stretching between the UK and Kenya.
I recently got a batch of suggestions spread along the interesting-weird axis, and this one stuck with me. British dance beats (mostly house) with Nigerian hiphop female vocals. I have this strong feeling that I’m totally late to this party and hits like Fake ID and Ginger must have spinned their fair share in certain parties and radio shows that I totally missed apparently.
Mostly straight up uptempo house with a few tracks having tech-house flavors, the latter ones are definitely more for me. The closing track (Kato) is probably the biggest smasher. Most tracks are totally dancefloor material, but it’s also a great pushing-pumping motivator record for work.
Actually there’s nothing too special about this album, good old sounding EBM and aggrotech. Still somehow it managed to gain quite a few plays recently. It just has everything ideally put together that I want from a hellectro record, and well, nowadays I don’t really remember to dig up old Hocico albums. (Maybe I should.)
Probably my most replayed single track recently. I love the energy of the raw industrial punk. Funny that Kittie comes to mind when listening to this, who also had a track called Spit, although their song that comes to mind is Brackish.
This album got parked on my Play Later list for a while, then I gave up on it because I was never in the mood to give it a go. And today I restumbled upon it and I’m so happy I did. Ah, it got to me just perfectly today. There are these moments when a music hits me just in the right spot and that’s everything I want. It has that perfect balance of depressing and motivating that it could take me from that first mood to the latter.
What I like best about it is in part a few great melodic hooks, but much more importantly the vocals and lyrics. Jonas Renkse’s voice is the most wonderful rediscovery of today. Also, there are some songs (like Behind the Blood, The Winter of Our Passing, and Flicker) that sound like classics that I’ve heard a hundred times. I’m listening to the album the thrid time today right now, and I just don’t feel like changing to anything else. It is an amazing piece of progressive rock.
Epic synthwave cinematic style. Everything this guy has produced so far is gold.