What can you say about this record apart from listen to it played loud in a dark, illuminated space. It saying something dangerous, unexpected but in in a completely comprehensible language, whether you experienced 1988 or not. Normally detuned voices leave me cold but there something about the nasty nature of the voice fuelling Merde Acid that is easily excitable, that plus the electro pulses serving as drums alongside the furious injection of Acid. Hoom, follows in a similar vein although with more bounce to the rhythm, then the hyper tension of All D Time On Mi Mind contrasts the state of mind in rigorous breakneck fashion. An excellent Elisa Bee Remix is next compounding the brutal elements of bass and a welcome flash of warm musicality. Leaving the sincerely apt, Nonsense Acid to end by flexing muscles in amongst the shuffle of hot-wired drum machines. Breathless.
As you will already know this is the first album from Posthuman in eight years. A long time coming perhaps but then music does exist outside of time and space. Ask Stockhausen. The many points of reference have already been notified across the music involved on Mutant City Acid, although at Magazine Sixty we like to exercise the subjective core at its heart â€“ otherwise what’s the point of reading the printed word when you can just as easily listen. Plus, you really do have to see the results of the randomly generated coloured vinyl, or the ambient version on cassette to fully realise form alongside content. Into Gestalt sets the pace with electrifying Acid lines sizzling with the kind of energy only a 303 could generate. Of course that will come as no surprise to those who follow the duo, or their feverish label: Balkan Vinyl. But in ways it’s when the atom gets split that the intrigue pours out. The introspective, Once Was will excite the memory care off its telling bassline, while weird and wonderful layers of sound whirl away in the background expanding creative boundaries. The retrospective future of Gods of Technology feels like it was born yesterday, although as was mentioned before it resonates notably today, and still do so tomorrow. The darker edges of Raid On Kyoto Quarter reach new ground as spoken voice sits uneasily over teasing Cabaret Voltaire styled synthesizers. While, Shellworld Industries combines all of the aforementioned elements into one succulently beautiful exploration of the future tense, packed full of emotional turmoil yet resolving questions. The rigours strains of Transit System Error and then Wish Mountain complete the release as undulating caustic sequences once again reassert themselves. But either way this album is much more than the sum of its many parts, moods and settings. Reward, in the form of audio, is yours for the taking.
Release: November 26