I don’t know. today was a day of trying to avoid the IRL boss, for real (And imagined) misdeeds, while ideas just floated in and out of my brain like a fly that buzzes around your head just out of eye range. Every time i tried to make it concrete in my head, it would just evaporate. Some days are like that I guess.
But today was all about getting back on the “journalistic” treadmill-finishing off reviews, arranging interviews. Ho hum. In lighter news, a new mixtape is on the way and should be ready by later this week. Also the poster designs have come back from my lovely designer friend for the RSF club night in a few weeks. And even if i say so they will kick aesthetic ass. All will be revealed this week.
Now what am I listening to tonight well actually a record from persons unknown who would like to keep their identities secret apparently. It all centres around HATE records, an offshoot of the esoteric label Modern Love (Of Demdike Stare fame). here’s the blurb….
Majority of the material on this label is previously unreleased,
Original junglist hardcore dating back to 1991-1994 from producers who wish to remain anonymous.
A carload full of dubplates and DAT tapes full of unreleased material was handed over to the label at Sowerby bridge in Yorkshire sometime in 2008. The material (several hundred original tracks) has been gradually catalogued,With a few tracks already planned for release this year. HATE is a Modern Love project and the label might also feature,Occasional new versions from different producers. All HATE transmissions will be limited to 300 stamped copies.
This is the past coming to bite you on the ass!!
Now that is certainly a mysterious, if rather far-fetched, back story, but the music is as spectral and mysterious as the label itself. Take this track, “Pretty Boys Don’t Survive Up North,” Lots of warped buzzing jungle/rave synths, and that obligatory urban sample with a slowed down amen break. Scarily similar to what Andy Stott did with “Up the Box” on his ‘Luxury Problems’ album. It sounds of the ’90s, but feels strangely dislocated. More like an uploading of someone’s memory of the time than an actual instead instead.
Interesting to see that with this, Lee Gamble’s efforts and even Moon Wiring Club making epic mixes of ’90s ambient rave tunes, the revisiting of ’90s electronic music and it’s energy/signifiers as being something outside of time/space/location is something that’s picking up in earnest.