The reasons to love Adam Derry – that he’s mercurial, uncompromising and makes noisy, challenging electronic music that isn’t fêted by Boomkat or Wire Magazine – can also sometimes be his downfall, meaning he can veer into unlistenable territory and has a tendency to produce overlong tracks. I Can’t Name Tunes (150 BPM), for example, would benefit from being a good three minutes shorter, despite the presence of a marvellously unwashed 303. Miles better is Threshold Driven (160 BPM), a sweaty, fidgety seizure of a track that uses waves of distorted acid-driven noise to punishing but undeniably awesome effect. Whether you’d like a second dose in I Don’t Use Sample Packs (155 BPM) may well depend on how much you want a repeat viewing of the fire extinguisher scene in Irréversible.
Remixed by Benji303, Jared Blyth’s Fucking Cocaine has an accordingly hollowed-out and distanced feel to it, while a treated animal-noise adds the requisite note of self-disgust. Only the 303 feels a little underdeveloped, lacking the darkness and bite elsewhere. Fil Devious’s Phat Pants, meanwhile, is a tremendous tune that absolutely rewards close and repeated listens, especially to the trippy, kaleidoscopic 303 that courses through all seven-and-a-half minutes, bouncing off a metallic melody, dipping and soaring and turning inside itself like a Möbius strip. Phil’s tracks always deliver, but this is one of those you feel can stand on its own outside of the mix.
Which leaves Nitronoise. Nitronoise is Injector Records’ head honcho Gabriel Stirbu, and his tracks invariably have a ravey, old skool quality that makes them a real joy to hear. Get ’Em Up The Fuck (145 BPM), for example, is the party right there, and like That’s My Shit (145 BPM) uses bouncy, good-time vocal samples and chord changes for funky, eminently mixable techno. Acid Junxion (145 BPM), meanwhile, employs cavernous echo-soaked drums for a harder, booming sound destined to sound ace on big rigs or headphones, whichever is your poison.
A Chronicle of Rabbits 
