Archive for July, 2013

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Aaron Noseday is the alias of Thomas Collard, a Belgian Acid fiend whose own label Lord Cal  specialises in unpredictable 303 experimentation, equal parts Mike Dred and SUF. The six tracks on this latest EP collude to create a formidable statement of intent.

A bruising, atonal six-minute 303 workout, A1 kicks us off by shearing away Acid Techno’s latent funk and repositioning the TB as a weapon of brute force, teaming it with thundering, tribal drums.  One Interlude later, the second proper track A2 unleashes rubbery gabba drums which underpin pretty keys and all manner of maelstrom-like noise. Somebody belches and again that stentorian drum starts up  for the set’s longest and most idiosyncratic track, B. You wouldn’t call it a beat – it’s a pounding, and around it orbit all manner of queasy disorientating noises. Fans of Rephlex, Planet Mu, or  hard uncompromising Acid, you might just want to check this out.

Lord Cal on Facebook

CAR005 Logo web

Defqon 3 is a tale of rising panic, with a subterranean, echo-soaked kick supplemented by siren motifs and a truly terrifying central riff. There is an epic, slowly unfolding quality to it as well. Imagine a really hard-assed remix of a Sabres of Paradise tune circa 1996 and you get the idea.

Defqon 5, meanwhile, is a showstopper, up there with the best of the year. A magnesium flare, a wired and wide-eyed blast of utter madness, it starts hard and fast then around the halfway mark throws off its kimono and with a synthesised scream goes bonkers, chucking riffs around and unleashing some of the best and most brutal acid known to man. It’s the kind of track that makes you grin; that makes you do that whoosh thing with your mouth; that reminds why you got into Acid Techno in the first place.

Over to next door, and if there was an exact point where industrial techno met the wide-eyed riff-frenzy of acid techno, Black.Art’s Rust would be it, a lovely old-school flavour to this track. With Maxx and Rene Reiter’s VD galloping us past the finish line for what is an exceptional, nay, essential release.

Release date: August 1, 2013

Carbon Audio online

Zenith Distribution page (including samples to download)

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“You know how to get a girl going,” says the vocal for Sex on the Decks, the EP’s opener. Held fast by the kind of bassline from which speaker cones run terrified and screaming, breakbeats attack like fleetfooted assassins until after a minute or so, when the 303s start up and the whole thing fireworks into a kind of joyous, controlled pandemonium.

Therein lies the appeal of the Champion Breaks sound. It’s the rawboned attack of old skool breaks – that first-heard smiley, rushy feeling – meeting the relentless drive and funk of 303. It’s hectic, man. It’s wired on sulphate and wide-eyed with its own potential and it springs off cackling in unexpected directions.

So on Love Me Always, a fidgety acid line and sampled vocals do the hard work, whereas Music For Drugs plays with a more traditional-sounding jungle bassline, lashed by a high-pitched, squirly 303. Where is the sound going? You’re never quite sure. What’s it like? It’s like being on a bus that’s been hijacked by killer dolls on nitrous oxide. Like that.

And there’s more where this came from. In a former life, Mr Champion Breaks himself tore it up as a DJ/producer in Acid Techno, but for the last three years he’s tinkered to refine the project he’s calling ‘the future (pirate) sound of London’, or Acid Breaks for short. Infused with a sense of humour to match the jaw-clenching propulsion of the tunes, the project’s wellspring is the website, here, where Breaks’ guiding philosophy harks back to the freethinking optimism of rave (its principles not dissimilar to System Rejects, in fact) and you can download plenty of tracks for free.

Meanwhile there’s a supremely caffeinated and justly popular label showcase mix on Soundcloud (called, pleasingly, It’s Intelligent… It’s Acid Breaks… And It’s Still F**king ‘Avin It!) to which you’ll find the link below, plus Breaks’ remix of Oscar G’s Twisted by Nature can be found here. As the Breaks maxim goes, ‘It’s all about 303 acid lines, the old-skool hardcore breaks, and throbbing Reece bass to give you endless thrills!’

Get it here:  Juno Download

Champion Breaks Facebook.

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System Rejects is a new label, an “autonomous collective of techno artists and producers” united by a “passion for stomping techno music and  freethinking nonconformism,” which are all things we like here at Rabbits. The stomping techno, the freethinking, the nonconformism –bring it on, we say. What’s more, the label’s founders are none other than Austin Corrosive, Tassid, OB1 and MK 303, who you’ll be  familiar with – or you bloody well should be, at least – by virtue of their considerable talents at making kick-ass Acid Techno.

System Rejects 01, then, and slice my still-beating heart from my chest if it’s not an absolute cracker of a release. The Rejects all take a turn and first off is Austin Corrosive’s Nothing, where thuggish declamatory vocals speed up and slow down before dropping out completely and introducing epic acid of nuclear winter proportions. Meanwhile things get dirty  for Tassid’s Eat Your Own Face, a methylated-spirit-drinking tune, with echo-strewn riffs bouncing off another in their bid to escape an insistent high-pitched siren. The word I’m looking for is ‘cavernous’.

Next, and I’ve talked before about OB1‘s almost surgical precision with the old 303. Here on Factory Grade, he layers them across a patchwork of ravey noises then whips them onto a lithe, funky climax. I think it’s one of the best things he’s ever done.

On a similar high is Matt Knight aka MK303, whose Three Oh Three is very, very phat indeed, letting no-nonsense drums do the heavy lifting while a deceptively strolling bassline is attacked by high-pitched acid lines wielding razor-sharp tomahawks.

So. All good then. Frankly, all brilliant. The ever-so-slightly bad news – especially if you’re a digital Doris like me – is that System Rejects are sticking to their principles of keeping the releases strictly limited and vinyl-only, which means that… well, it means that they’re strictly limited and vinyl-only. You will want these tunes. You will want them a lot. Good luck with that.

Go to System Rejects’ website here.

Listen to the tunes here: