ALBUM REVIEW: Patriarchy “Reverse Circumcision”

Patriarchy "Reverse Circumcision" cover art

Patriarchy “Reverse Circumcision” cover art

Patriarchy is described as the snuff metal band we deserve, and rightly so. The imagery is vibrant, dynamic, and out of this world and the music very much goes along with this. Thus, it’s a whole package which is a rarity in the music world at times and sets this group apart with ease. With a whole album of remixes of songs from the first Patriarchy album, Asking For It, on the horizon, it seems the world agrees with the statement wholeheartedly. Imitation is the highest form of flattery and plenty have lined up to do just that!

First up is “I Don’t Wanna Die” remixed by Geneva Jacuzzi. A number that recalls the dreamy sounds of the eighties, thoroughly updated to the modern world. The glistening production of the song glues all the elements together perfectly in unexpected ways. The dreamy vocals waft in and out of your head throughout the number, as the meandering bassline and monotonous beat lull you into a false sense of security.

Patriarchy; press photo

Patriarchy; press photo

“Hell was Full” drifts in next, remixed by Bon Harris of Nitzer Ebb. The ominous tones and minimal beat pattern set the vibe for the dark exploration about to be undertaken. There is a sense of unease as the song marches along, but only draws you in even further. Sprinkled throughout the song is a surprisingly infectious melodic motif that grabs you like a monster from under the bed. This is a tune that will stay with you long after its last echo trails off.

Drab Majesty brings us their remix of “Burn the Witch,” ready to fill your head with staccato beats and melodies that are as challenging as they are fulfilling. One of the standout aspects to this track is how it brings the light and dark together: the vocals are ethereal yet forlorn at the same time, the beat is quite boppy yet carries with it a rolling downhill sensation, the keyboard motifs are soothing, yet the particular notes have an offkey vibe to them. Together, it makes for an epic journey that reflect life in all its gore and glory.

“It Goes Fast,” remixed by Second Skin, chimes in as if from the sky. The ethereal atmospherics, catchy beat, and hypnotic vocal motif sear the brain with melodies from the dark side. As it echoes through your head, the tribal influenced drums consume the body in a frenzy of sound that refuses to let go.

Patriarchy; photo-Michael Deleon Romero

Patriarchy; photo-Michael Deleon Romero

Heavy comes next, as John Fryer of This Mortal Coil puts his remix of “He Took It Out” on display for everyone to enjoy. The piercing keyboard notes add just the right texture to the thump of the kick that dominates the tune. Using repetition, a constant scene of crescendo of sound builds throughout the song, with the swirling cycle of vocals causing you to lose all sense of time and being as the song pulses through you.

The siren sounds of “Sweet Piece of Meat” remixed by Xavier Swafford of 3TEETH, infect the ears right from the first note. Using the simplicity of a driving beat and wild blasts of fuzz noise, the song surges along with the power of a juggernaut intent on bending you to its own will. The rhythmic vibrations alone hook you in faster than the blink of an eye.

“Grind Your Bones,” remixed by Rhys Fulber of Frontline Assembly, enters – seemingly far away and in a totally different world. As it progresses, it creates a blur between all the different possible worlds out there. The longing of the vocals counterpoints the robotic nature of the drums and atmospheres, setting the stage for the push and pull we all feel when navigating through life.

The glitchy meanderings of Light Asylum’s remix of “I Don’t Want To Die,” will inspire you to do the dream dance as it worms it way through your heart and soul. The hip-hop inspired beat serves as a perfect vehicle to deliver the vocalizations and spoken word diatribe that ebb and flow as the song progresses. This is a track that causes you to lose complete track of time as you get more and more absorbed in the world it creates.

Further exploring the soul behind our machines is ADULT.’s remix of “Hell Was Full.” Employing a motoric style beat with heavy use of delay on the vocals and ethereal atmospheres, this is a tune that makes you fall fast and hard. The hypnotic swirl of the tremolo motif bounces inside your head relentlessly, with the beat and vocals creating a dynamic range that forces introspection about what is possible in music. It’ a heady trip you will want to embark on again and again.

Set for release January 29 on Dero Arcade, this is an exquisite release you will want to pre-order and get as soon as possible!

Glyph & Hystatus – Azumith [Delta 9 Recordings]

Glyph & Hystatus cover art

Glyph & Hystatus cover art

Coming straight from the deepest trenches of the underground, Glyph & Hystatus have crafted four masterpieces of the dark and minimal sound. Released on Delta 9 Recordings, a label that has systematically brought out the best cutting edge DnB for months and is the perfect home for these tracks. Filled to the brim with dense textures and mind-blowing compositions, this release showcases the exciting and constantly shifting landscape of this genre.

“Meridian” starts the release out, with ghostly atmospherics and a hypnotic motif that get carried along by the driving rhythm. Once the drop hits, the music reaches deep inside of you with a subterranean bassline that floors. The throbbing vibrations counterpoint perfectly with the rolling tech melodies that drive the tune, showcasing the fusion of old and new that DnB thrives on.

The ominous mood and earth-shattering bass of “Azimuth” come roaring in next. The ferocious drum section blends with the sci-fi FX that dot the soundscape. The intense click of the hi-hats overwhelms the senses as the song slowly builds, yet never overpowers the subtle composition details. This is one of those hard-edged numbers you can’t get enough and reveals the studio precision both these producers possess.

“Trapped In The Group” takes things in a similar albeit different direction, utilizing a steady groove that creates an addictive feeling that is impossible to shake off. The swirling bassline that surges throughout it takes you to an alternate dimension of pure sound; the techy design of the drums further drives this home and serves to add even more tension to the ebb and flow of the track.

Taking things further into left field for the last one, Glyph and Hystatus deliver “Black Vector.” A weighty tune that explores what is possible with the sub, it employs wave after wave of glitchy FX and blasts of distortion. With a minimalist beat that carries everything along at a metronomic pace, it’s surreal how high speed yet spacious the song is as you get lost in each layer.

Out now on the Delta 9 Recordings’ bandcamp, this is a stunning release you will want to cop immediately!

Liquid Giraffe – Homeschool [Self-Release]

Liquid Giraffe cover art

Liquid Giraffe cover art

Hailing from Los Angeles, Liquid Giraffe is back with six fresh cuts which take you through a potent journey of bass and beats. As a long time player in the music world, this is a producer who consistently refines and hones his craft in surprising ways. On Homeschool, his talent for creating innovative vibes and expansive atmospheres is absolutely boundless.

“Midterminal” starts the album out, a soothing gem of lo-fi blends and hip-hop flavored beats. The simple repetitive flow keeps the momentum going as you fall deep into a daydream. The glossy sounds of the chords combine with the background vocals to evoke the feeling of a relaxing sunny day, one you wish would never end.

Changing pace comes the frenetic beats of “All Dem Graffiti Guys.” The rolling pulse of the drum section and the repetitive vocal sample create an addictive palette of sound that instantly gets stuck in your head. The jungle of sounds here reveals his penchant for intricate layers that tell a whole story, using each element to its maximum effect.

Exploring and pushing the envelope of bass music is a constant theme throughout the Liquid Giraffe discography; “Heyyy” blends a footwork style of rhythm with ethereal vocals that are a staple of electronic music. Combining them in an unpredictable manner, we get a satisfying track that fills the mind while vibrating the body simultaneously.

In the spirit of discovering new territories, “Domin8” is a mind-bending track filled to the brim with a trippy chopped up vocal sample and gritty basslines to boot. Backing this up is a heavy driving beat, and at its peak it builds up intense levels of tension before sucking you into the second drop. This is a song as infectious as they come, one that will stay with you long after it’s dissipated.

Keeping things rolling comes “Aristarrr.” This is a funky groove filled tune that gets the feet moving, willingly or not. This is a full-on odyssey of his technical prowess: from the clicking cymbals that dot the track, to the bubbly bassline, and even down to the rising melody, this is an evocative track – and getting lost in all the details is a serious pleasure.

Closing out the album is the absolute bliss of “Yo the 1.” With a busy hypnotic beat, Liquid Giraffe draws you into the deepest realms of his musical world. Bringing in his love of jungle style breaks, soulful melodic motifs, dynamic compositions, and hip-hop stylings, it’s a tune no one can resist, and will set any dancefloor ablaze.

Out now via the Liquid Giraffe Bandcamp, this is a must have for any music lover. His ability to pull from the past while keeping an eye on the future is what makes his style fascinating and one you will want to keep an eye on at all times. Cop it ASAP!

Rift – Suppress [Free From Sleep Recordings]

 

Rift cover art

Rift cover art

Free From Sleep has brought us some of the best live events in DnB, with lineups featuring stellar talent such as Skeptical, Loxy, Pola and Bryson, Break, and so many more. Even in the midst of this lockdown, they’ve refused to slow down, continuing to bring us live streams and DJ mixes to get us through the hard times. Their next step is releasing music themselves, and their first outing features two choice cuts from the man known as Rift. Well known for his beautiful liquid productions as well as hard-hitting deep workouts, he delves in and expands his style on his FFS release Suppress.

The title track comes at us first, beginning with a methodical click and ominous atmosphere that build into the driving beat. The tension it all builds is overwhelming, the drop coming in with earth shattering force. This tune recalls the rolling rhythms and choppy snares of Jubei and Metalheadz, and fuses that with the modern bass growls prevalent in darker styles of DnB. Brought together, it’s a deep and ferocious outing you’ll endlessly crave more.

“Back to You Feat. Elle Chante” sees Rift showcasing his liquid chops with a darker bent. Setting the vibe with an energetic drum pattern backed by ethereal vocals, the smooth production is perfectly counterpointed by the subtle gritty layers and blasts of bass distortion that dot the soundscape. As the tune progresses, it’s impossible to resist getting completely sucked into the world Rift has created in it.

Out now via the FFS Bandcamp, these are two tracks you will want to cop without delay!

Deviant – Silk Notes [The Chikara Project]

De cover artviant – Silk Notes [The Chikara Project]

Deviant – Silk Notes [The Chikara Project] cover art

Back with four fresh cuts from the deeper side of DnB, Deviant’s newest outing on The Chikara Project is exquisite: filled to the brim with the lowest of subtones, finely tuned snares, and expansive ethereal vibes, each track is addicting as the next and showcases the deft blends of styles routinely seen on the label.

“Silk Notes” starts the release off; a collab with Sam Binary, it sets the stage for the somber yet soulful soundscapes that characterize the release. The energy builds step by step, as the melancholic keyboard motif and the hi hat pattern rise together, joined by the weighty kick and snare. That intensity builds until the drop itself comes in, and the track reveals its full nature. It’s a soothing yet driving track, effortlessly gliding between its dark and light sides.

Coming at us next is the murky yet funky rhythms of “Don’t Ask.” The bassline and the breaks work in perfect synchronicity to give this track its flavor. The sporadic yet consistent nature make it a dream to get lost in, as the mind ponders each layer while the body can’t resist rocking back and forth with the beat.

“Things You Do” is another collab, this time with Mystic State lending support. The song starts off with the bounce of the kick and snare, as the busy hi hats provide intricate support. As the drop hits, the tune launches into hyperdrive – the deep subs and the mind twisting FX perfectly counterpoint the lush atmospheres and soul driven melodies. Deviant and Mystic State prove what a fearsome team they are in the studio here, with every note masterfully designed and executed.

Closing the release out is the hypnotic vibes of “Radiate.” The surging drone of the keyboard motif overtakes the mind instantly, as the drums lay down the addictive groove. A track that revels in minimalism, the low sub tones of the bassline and the driving rhythms of the drum section dominate it. Through that simplicity, it effectively conjures the feeling of seeing beauty in a brand new and unexpected place.

Overall, this is a stellar release. The sound design as well as the composition of each number is absolutely breathtaking. Grab this one immediately from The Chikara Project Bandcamp page!

Fearful – FKD/XINF [Different Music]

Fearful cover art

Fearful cover art

Different Music has been on the scene for over ten years and has never ceased in bringing out some of the most imaginative and creative tunes in DnB. This label is devoted to exploring the farthest reaches of not just DnB but all bass music. With output from Arkaik, Mauoq, Lakeway, Dexta, and many more, always expect the unexpected as they continually push the boundaries. Their latest release from Fearful, FKD/XINF, delivers another mind-bending journey through two tracks filled with the deepest sub tones and twisting beats.

FKD is a deep minimal monster of a tune: Starting out with ominous atmospherics that effortlessly blend with the surging beat that builds into the drop. The deep vibrations and growl of the bassline drive the track forward with a consistent intense energy, as screaming FX as well as the chatter of the hat section create warbling bringing out the minimalistic beauty of the track.

Fearful is well-known for his challenging and technical productions, with “XINF” delivering that in full force. With a subterranean bass tone that is overwhelmingly deep, and a chattering drum roll that weaves into your brain, it’s a workout in precision that he nails perfectly. This is a tune you will get lost in every time you hear it, as each time you will discover something new.

Out now, these are two fascinating tunes you will want to add to your collection ASAP!

ALBUM REVIEW: Public Memory “Ripped Apparition”

Public-Memory-Ripped-Apparition-cover-art

Public Memory “Ripped Apparition” cover-art

Hovering between the grounded rhythms of dub music and the pure atmospheric sounds of indie music lies Public Memory. Having crafted a distinctive sound that is amorphous yet impactful with releases such as Wuthering Drum and Demolition, the newest release Ripped Aparition continues in that vein yet expands upon it in new and imaginative ways.

The album begins with the ominous warblings of “Worn Shadow,” which slowly builds the tension until it feels like it’ll burst. Which it does, into the hypnotic bass vibrations of “Bad Orbit.” The consistency of the bass develops the perfect backdrop for the crescendo of the melodic motif. When the vocals enter, it grabs ahold of you despite its ethereal nature. The song then holds its steady groove, as endless waves of effects float in and out until it slowly winds down.

The blissful keyboard of “Dusseldorf Witch Hat” drifts in, lulling the listener into a false sense of time and space; the trip hop beat backed by the overdriven bass counterpoint the meandering sounds and melodies perfectly. This gives the song a feeling of always moving forward yet staying in the same place, and it’s the perfect kind of song to get the creativity flowing.

Building up the epic feeling of this release, “Courtroom Tap Water” establishes itself with laser precision; by employing reverb and a slow well-placed snare pattern, it evokes a cavern hidden deep in the forest that keeps calling out to you. All of this feeds into the lumbering behemoth named “Butcher.” It’s a tune that has an overpowering heavy presence, which only highlights the peaceful musings of the lyrics. It is mind numbing the way in which this song infects the brain and lingers long after it’s gone.

“Azimuth” keeps those vibes rolling along. The methodical pacing, the metronomic click of the ride, and the warmth of the bassline fuse together to forge a surrealistic sound that’s hard to get enough of. All of this paves the way for “Midsummer Shadow,” a song that truly goes hard. The vocals and rhythm each have a barely contained feeling of anger as an undercurrent, with the bass and other elements helping to build the atmosphere which seeps down into the depths of your soul.

Public-Memory-press-photo

Public Memory press photo

The playful trip hop beat of “Epigone” stands in contrast to the previous works, but somehow still matches the delicate ferocity of what came before it. It accomplishes that with a mesmerizing melody and a rhythm which feels like a ship rocking back and forth that is taking you to an uncertain destination.

Taking a cue from the previous track, “Dracula AD,” takes the melodic sense and turns it on its head. While containing some very pleasing motifs, there is a darkness floating around in the track which creates a sense of rising anxiety. When the otherworldly vocals enter, it becomes apparent this is a track that adeptly combines polar opposites into something fresh and exciting.

Closing out the release is the massive “Lost Future.” Combining all of the disparate elements found throughout the album into one song, it never veers into chaos and instead stays ever sure of itself. In addition, this song plays with the experimentalism so prevalent on the album; it is eye opening how this song sounds truly experimental yet instantly gets stuck in your head.

Public Memory has crafted another fantastic gem with Ripped Apparition. Whether you are looking for an introspective album or love the left-field explorations of lo-fi, there is plenty to dig into here. Get it now via pre-order or on general release this November 20th on Felte Records!

GROUND – Ein EP [Overview Music]

overview-ground-ein-cover-art

Overview GROUND Ein EP cover art

As one of the premier labels spearheading the deep and dark side of drum and bass, Overview Music continues to expand their diverse sound; this time bringing us none other than GROUND with his Ein EP. Well-known for his unique production style that features top notch sound design and creative beats, the four tracks on this release will blow your mind and possess your body.

“Ein” starts the EP off; using a blend of moody atmospherics, driving rhythms, and a vocal chant to create an intense build into the drop. The drop itself hits like a jackhammer, as he brandishes the rolling sound that dominates it. The second drop reveals the inventive drive he has, mutating the original pattern into a darker version of itself that leaves you in a state of awe.

The ominous opening of “Amnesia” drift in next, with a mind melting blend of elements which accompany the hypnotic motif that defines this track. GROUND reveals his production chops on this one: with lush soundscapes, a carefully crafted snare, deep subs, and the techy click of the cymbal section that are balanced and arranged in perfect sequence. This creates the spaced-out vibe that makes it so addicting.

“When I” makes use of a shifting drum pattern and a weighty sub to create an infectious hard-edged tune that gets the body moving. It’s easy to see this tune taking over any dancefloor, with its combination of energetic pacing and surging basslines. The myriad of elements which interplay throughout reinforce the quicksand nature of the track, swirling endlessly in and out of your head.

Going all out on the last track, “DIY” is a menacing tune that takes no prisoners. The repetitive snap of the snare and growl of the bass set the perfect stage for the gritty, tripped atmospheres which populate the track. The distorted foghorn melts perfectly into the high-pitched drone that carries the break, slowly morphing back into the foghorn and leaves you reeling from the experience.

This is a massive release; four killer tracks that reveal a fresh take on the genre. Out now via Beatport, go cop this now!

Tommy Castro And The Painkillers Bring The Perfect Panacea (Rerun)

Tommy Castro; photo Jayson Carpenter

Tommy Castro; photo Jayson Carpenter

TOMMY CASTRO AND THE PAINKILLERS 2020 tour never took place thanks to the COVID-19 pandemic so we thought we’d rerun the interview…

There is no doubt the Covid-19 epidemic has drastically altered and affected all of our lives. Nowhere is this more prevalent than in the music community, with so many essentially getting their entire way of life halted in an instant. Despite this, musicians have been charging forward even harder than before.

Tommy Castro and The Painkillers are such a band; having been around for over two decades, they have seen their ups and downs. Our current pandemic situation has postponed all future events, including The Painkillers night at The Coach House.

“It will continue to be rescheduled until we can play it,” remarks Castro. “I don’t know what the next date is but the one in June I don’t think is going to hold. Even if the state decided to open things back up by then, it won’t give us enough time to promote it. So, we are probably looking to have our show there in the fall.”

The Coach House is a favorite venue for many blues and rock bands, with Castro and his band included in the mix.

Tommy Castro; photo Bob By Request

Tommy Castro; photo Bob By Request

“The Coach House is great, and I even remember the first time we played there,” reminisces the bluesman. “We were coming up in popularity and our current record was doing well. That was not an easy gig to get, you had to earn it! When we finally got booked in there, we were really excited about it and haven’t missed a year since then. It’s got to be about twenty straight years that we have been playing there. It’s a good-sized room, not too big and not too small. It suits our audience very well. Blues audiences tend to be an older crowd and they like to sit down and enjoy the show.”

Speaking of Covid-19, everyone has that moment when they first heard about the shutdown.

“We were on tour, being in the middle of the northwest and Canada,” he reveals. “We came down from the mountains in Canada into Montana and worked our way back towards Sacramento, with that and Paradise being the last shows we played. It was very up in the air whether those were even going to happen. After those ones, we all went home and have been on lockdown ever since. I would have never imagined a thing like that happening.”

Life has been very different and difficult since the stay at home orders were first issued, but not even that can get the guitarist down.

“I’ve been keeping myself really busy with a couple of live stream shows,” divulges Castro. “I have a lot of work to do – working on songs, practicing my guitar, working on my house, the weather is warmer so getting some exercise, and just making the best of it. I’m not going around and visiting people in their homes or anything of that sort. I had my birthday on the fifteenth of April, and all of my adult kids and I got on zoom and had a little birthday party for me which was a lot of fun.”

Tommy Castro; photo Jayson Carpenter

Tommy Castro; photo Jayson Carpenter

Recently, he performed live over the internet for John Lee Hooker’s live stream show. “I’m a big fan of John Lee,” he affirms. “We knew each other and were friends, he recorded on one of my albums back in the early 2000’s. We had the same booking agency in those days so were playing on a lot of the same shows. It was a real honor and great way to pay tribute, with me playing a couple songs of his.

“It was cool because I had the time to learn to play one of his songs I didn’t know before,” relates the guitarist. “This one is in a very particular tuning and really went into the John Lee Hooker style. I’ve done his songs my own way so this time I did one that way but on the other one, I just really tried to imitate his style in Open G on an old Harmony guitar that I have. It was fun preparing for it and also playing my own songs. His Facebook page has a couple hundred thousand subscribers from around the world, so it was great exposure for me and a lot of fun.”

Moving from live shows to live streams over the internet has been a sudden and intense change for any musician out there.

“Anytime I have to learn something new it’s good for me,” explains Castro. “It always reminds me of a quote, ‘If you’re green, you’re still growing.’ Those things I don’t know that much about and I need to learn about and am put in a position where I have to learn it, it’s good for me…good for my brain. It expands my abilities. You tend to get stuck in what you know so I know how to play live and make a record, I’ve learned over the years how to be involved in online promotions, and most importantly how to keep in touch with my fans through social media and the internet.

“All of that has been a constant learning situation for me but this was a crash course in live streaming,” he points out. “Especially because it was completely solo. I never play, never in my career have I done a solo show. There have been times on the radio or something where I would play a song or two, but it was never me having a fully worked out acoustic set for a show. What I do is electric blues that requires a band and is what I really know how to do. So, learning how to step up and play a solo show like this was really good for me.”

From their humble beginnings to their current status as blues stalwarts, their journey and outlook on life is a fascinating one.

“When I was about eight years old, my brother got a guitar and started playing it,” explains Castro of his musical origins. “I had always been interested, and being six years younger, thought it was the coolest thing. Eventually I got my own guitar and started playing with friends my own age. For most of my life it was something I did for fun. I enjoyed it and didn’t get any schooling or lessons on it. I just listened to lessons and had a basic chord book and figured it out. Growing up in a lower middle-class neighborhood, nobody I knew was taking lessons or getting any proper musical schooling so my friends and I would just listen to the records and figure things out.”

That was the start of it all and it just kept rolling from there.

“I just kept playing, blues was the thing I liked best,” he elaborates. “I listened to rock and roll but was always most inspired by the blues-based stuff i.e. The Rolling Stones, Cream, Led Zeppelin, etc. A lot of the blues in the sixties was being played on FM radio when it was still relatively new. FM stations were super progressive and could play anything they wanted since there wasn’t much corporate involvement yet. The DJ’s played everything: from psychedelic blues to psychedelic music, bluegrass, folk music, and a good bunch of blues music. That’s how I could hear Albert King, B.B. King, and Bobby Bland on the radio.

“That’s how I was exposed to it. Most of my friends were into rock so I was always the guy in the band who wanted to play blues. And that’s what I did for some time. I would play in various bands, we would get bar gigs and play on the weekends; until one day, I decided that this is what I was meant to do. I gave up on any other plans I was working on and decided to take a shot at making a living as a professional musician.”

One of the biggest leaps one can ever make in life, the future was tentative, but it was also a great time for this move.

“At the time, this was the eighties, and there was starting to be a market for blues bands and especially guitar players,” details Castro. “On a professional level, I played with a number of local San Francisco bay area bands until I decided it was time for me to start my own band. I’ve been doing that ever since – we have eighteen albums out there and have toured around the world for 25 years.”

This is an unprecedented time in history; but with musicians such as Tommy Castro and The Painkillers pushing forward, they give us a glimpse of the path forward and provide hope for the future. Through their commitment to make music regardless of the circumstances, it demonstrates how we can overcome anything. This is a band you want to keep up with, as they keep heartfelt live streams and stellar shows heading our way.

Ink, Loxy, & Resound – The Eternals EP [I.L.R. Studios]

Ink,-Loxy,-&-Resound-–-The-Eternals-EP--cover-art

Ink, Loxy, & Resound “The Eternals” EP cover-art

Three legends of jungle and DnB are back, with a killer four track release that will blow your mind and get your body shaking. Having established themselves with a long career of releases on everything from Metalheadz to Cylon Recordings and even Renegade Hardware, these three have always shown a deep love for pushing the envelope in fascinating ways. On this latest release, The Eternals EP, they continue to demonstrate their production prowess and why they are hailed as such innovative producers.

Kicking things off is “Frequency,” a heavy track that has a grimy bassline pulsing at its center. This is a track that goes full force, refusing to let anything stand in its way. Each element, from the tight snap of the snare to the metronomic click of the hats, are perfectly balanced and give the track its massive sound. The slow crescendo of the track builds slowly yet relentlessly, overpowering the listener with reckless abandon.

“Shodown” maintains the vibe but introduces a more diverse palette: the bouncing rhythm of the basslines reinforce the rolling feel of the drums. Employing a myriad of effects which ebb and flow throughout the track, the tune draws you in more and more as the song progresses. It’s a head bobber that satiates the need for sub bass, while taking the mind to unexplored regions.

Hypnotic warblings start off the title track, The Eternals, before the ferocity of the drums drop in. The fierce jungle of sounds that comprise this track is something these three producers are well known for; even here they find countless ways of calling forth the past while paving the way for the future. It’s a tune that showcases the intricate origins of jungle music and reminds why it has the staying power that it does, as well as its potential to constantly evolve into new forms.

Get ready to be propelled into hyperspace, as the frenetic rhythms of “Zoom” come rushing in. The wild, chaotic sounds of the drums are mind numbing, with a rumbling bassline that not only compliments them but is highly addictive. With echoing FX sprinkled precisely throughout, this is a track you will come back to time and time again to both study and enjoy.

It’s a true testament to both DnB as well as Ink, Loxy, and Resound to see them still going as strong as ever and continuing to raise the bar of production. Cop this one as soon as you can, directly through their Bandcamp page!