- Release Date 2017-03-10
- Label Mote Evolver
- Catalog MOTELP03D
Three of the tracks in the program are intense and captivating live re-workings from Slater himself, hurtling from the speakers with an apparent minimum of post-production polish and an optimal level of buzzing energy. The first of these, his new "Surface Noise" treatment, sends listeners wading through a dark pool of restlessly throbbing sound with a single buzz-tone as a beacon, adding new percussive fuel to keep the journey going just when it seems all will fade into enveloping darkness. "Tap Dance" brings a brighter sound set to the mix, but without forsaking the trademark steamrolling bass and the contrasting effect of gravity-resistant ephemeral sound clouds. The last reworking, "Whistle Viper," caps off this 'set-within-a-set' in similar fashion.
While this on its own would make for a compelling listen, the album is also laden with contributions from an international assembly of electronic soul controllers (to wit: Marcel Fengler, Psyk, Lucy, Slam, Octave One, Function and KSP). Fengler kicks off the proceedings with an ecstatic and lustrous rework of "Twelve," a melodic sunrise joining a synth pad massage to a locked-in and systematic rhythm. Psyk's own interpretation of the same track preserves the same insistence but applies it to a completely different time and place, driving the listener through a wilderness of coded signals and an ambiguous repetition of the title that sounds like it could be as much a warning as an indicator of progress.
KSP's version of "Function 6" gradually builds a cyborg leitmotif from an overdriven martial beat and epileptic machine breakdowns - a fascinating audio case study of perfect discipline disintegrating into something rather unexpected. Sequencing this with Octave One's "Booster" rework is an ideal choice, as the squared-away EBM / electro-funk sequences and flanged hi-hats seem to refer to a different phase in the life cycle of the same machine. Function's "Diesel Drudge," on the other hand, moves from the machine world into a totally oneiric world typified by backwards-masked / time-traveling voices and a thick strobe-lit haze. Taking a cue from this atmosphere is Lucy's re-envisioning of "Surface Noise", in which he doubles down on the original's feel of liquefied darkness to create a piece of endlessly vibrating sonic mesmerism, a no-nonsense tantric exercise in shedding preconceptions and inhibitions.
Rounding out the collection is Steve Bicknell's "Raid" version - a breathing mosaic of rhythmic pulses and clattering objects - and Slam's characteristically intense modification of "Temporary Suspension," whose low-end sequences continua