Magicore: Shitmat And Beatwife

A beautifully diverse full length from the UK's Microphyst. At times brutal and hard, while at other times melodic and inspiring. While i was listening to this, I often forgot I was hearing an artists album style effort.

• Magicore Shitmat And Wife

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Magicore Shitmat And Wife

• Only Cosmog can turn Magicore back to Magic so Magicore seeks it. You don't want to get in Magicore's path though, it's always been super angry since the day it was created, and it will attack you if you do get in it's way. It, just like Magicon (The usual evolution of Magic), it is Legendary.
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I thought I was enjoying a mix or having a good run through my soundcloud stream. 'Hugging Dead Things' begins with a haunting, distorted and glitchy piano piece. This is immediately followed by a very well crafted breakcore offering laced with top notch edits, professional arrangement, and artful sample selection. The next track, 'Energy Drink Enema' is a goofy romp through bouncy leads, noise interludes, and dubstep/breakcore cross-breeds. 'Energy Drink Enema' is a great representation of what to expect from the rest of the album.

Between the 4 minute or so long 'single'-esque tracks, the album is laced with 1 to 1 1/2 minute experimental, sometimes comedic noodlings. A must listen. For Free download from Microphyst's own bandcamp page. Love Through Cannibalism is a lad ive been following over the past 4 years or so.

LTC has come along way. Production quality has skyrocketed.

This new split is listed as seapunk/chipbreak. What i hear is classic late 90s IDM. Pretty, lush melodies are woven with toned down amens and other breakbeats. All doused in a tropical vibe. Both Whitely and LxTxCx do a great job creating the Island feel for this album, which is quite obviously the intended product. Music for Desert Island Dancing.

Can't shake a stick at that. Well you can, but you'll regret it. The cover art for z999's 'Distorted By Design', when considered, is a very straight forward message as to what you can expect to find inside.

Classical music taken to broken and distorted places. The intro itself lets you know whats up immediately. Distorted, clipped rhythmics laced with pretty strings. Of the four songs provided in 'Distorted By Design', there is rarely a moment where you do not hear stirring strings or complacent piano. As far as the breaks, to some the most important part of Breakcore music, they contain superb edits and thoughtful arrangement.

The final song, 'Monkeyballs', makes me wonder if this is what it would sound like if Ove-naxx did classicore. A fine release. The only problem i find is that it is too short.

Is an Italian web zine focusing on experimental and noisy music, usually of the metal and extreme/experimental electronic variety. They have two volumes of a compilation available which they compiled, one is more psychedelic and electronic focused and one is more metal/punk/etc focused. Both are really great and serve as a sonic connect the dots of leftfield underground music, mostly rooted in Italy or via the Italian entity that is The New Noise. If you have a few hours to kill, get both compilations and cue them em up back to back and beginning to end. It's a great fucking experience.

Magicore partner in crime just had a sick new release drop on. Still dwelling well within the realms of noise, as has been his more recent habit, there's a great fucking champion style return to breakcore and similar sounds with this one.

'Blood Is An Open Cage' is a handful of tootheye originals along side a bunch of remixes from tootheye homies and Magicore favorites. Speedcore, speedbass, hardcore, gabber, breakcore, junglecore, jungle, drum'n'bass, drum'n'noise, ambient, noise, experimental. If any of those words are registering on your radar, you need to get to downloading this motherfucker straightaway.

After some philosophically questionable releases from the likes of and, it’s been hard not to wonder recently how much more ghetto-influenced electronic music the scene can support from comfortably distanced aesthetes. But the fact that Misty Conditions is the pairing of arch-pranksters Henry Collins and Richard Wilson — both veterans of Planet Mu (as Shitmat and Burnkane, respectively) and responsible for all manner of breakcore mayhem in their time — gives some indication of the slightly less po-faced nature of D’zzzz. In fact, if that snoozy album title is anything to go by, they seem bored of the whole shtick too. To some extent, this is parody by one-upmanship: from the elephant on the cover to the dismal-sounding tracklist, Misty Conditions adopt wholesale the cartoonishly heavy aesthetics that are the bread and butter of grime and trap fetishists.

Lead single “Dank” continues the joke, further blackening trap’s signature 808s — big, booming kicks and pitched, syncopated snares — with screeching feedback and a moronically repetitive voice to create something utterly joyless. Like how Aphex Twin’s “Come to Daddy” was of the Prodigy’s then-popular “psycho-rave” style, “Dank” is a reductio ad absurdum of today’s vogue for trap music. It’s a smart trick, but thankfully it’s not the only thing on offer. Having taken the style to such an extreme, Misty Conditions are free for the rest of the album to play with its sounds, reclaiming and re-contextualizing them at will. It’s not that they are unbothered by cultural specificity — Collins’ previous projects have all been, in or, bizarro takes on Britishness — but here, as outsiders, they seek to place their chosen music in much wider contexts than are usually considered.

One aspect of this is the rediscovery of the 808’s long history in dance music: it is easy to forget, given its current ubiquity, that the drum machine has been with us for over 30 years and has been at the forefront of countless other new trends in the past. So “Drizzle” plays with Drexciyan electro and “Drowning” with Artificial Intelligence-era electronica, while “D’mmmm” and “Damiana” offer forays into the ferocious free-party styles of gabber and acid. These elements undermine the seriousness of so many ghetto-fixated fakers by highlighting the sounds’ historical links with much quirkier (and often actually heavier) styles. Another aspect is the ironic counterpointing of the sounds with apparently unrelated ones from around the world. D’zzzz was apparently a long-distance collaboration, with the pair sending their contributions back and forth across the Atlantic, and it willfully challenges the music’s usual London-, Atlanta-, or Chicago-centric attitudes.

The percussion sounds that augment “Dusco,” “Drizzle,” and “Death” may be African, Latin-American, or Indian in origin, but their cross-rhythms jar and jive with the otherwise Anglo-American electronics, transforming the darkness with unexpected life. Again, the effect is destabilizing: the contexts of grime, trap, and rest are not ignored, but they are knocked off their pedestal and placed in a wider, global perspective. Without demeaning the plight of those genuinely “trapped” in their tough situations, then, D’zzzz delivers a healthy dig at anyone tempted to fix, perpetuate, or fetishize their aesthetics. At times, on tracks like “Demonoid” and the too-brief “Death,” it approaches the styles of some of the scenes’ true innovators — the strange architecture of Jam City or RP Boo, the clattering roll of Peverelist, the brashness of Dizzee’s Boy in da Corner — but this seems almost coincidental.

Misty Conditions are really doing their own thing, reminding us that it is creativity itself, and not any specific form, that is worthy of emulation. Demonoid 09. Damiana More about.