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I told Hushush head Dimitri della Faille (a.k.a. sonic experimentalist szkieve) that, with Mick Harris involved I fully expected the disc to be more rhythm-oriented. He replied "Actually the person who is respnsible for most beats on this release is Spybey! Surprisingly enough!!" Regardless of of who's making what sounds, there's alot to hear on this darkly energetic roadtrip (including roadside assistance from special guest Niels Van Hoorn, saxophonist of the Legendary Pik Dots.
A couple of false starts lead to a warm-up, then we hit the road with good way to start a bad day; brazenly swaggering beats pound in intricate, evershifting patterns through several layers of swirling murk, wavering radiation, bass murmers and insectoid chittering. We reach a sputtering, crashing, buzzing gridlock in the next track though... institute good motoring on bad and I mean bad roads (2:59) breiefly stalls amidst incessant honking blares and phone-y rings as slight rhythms are buried way below. A steadily churning beatstream fades in, out and under a muffled engine-drone in bad way to start a good day.
Mister bod's beatless panorama of softly industrialized textures expands like evening mists over a distant skyline. Static-encrusted waves surge then recede to allow the spattering drumbeats of muffel to boldly strut their stuff; jazzy horn blares lend a retro-cop-show flair (I picture Sgt. Joe Friday tripping down some neourban avenue littered with discarded dreams). Muffled chants are overrun by slowly plodding percussion which soon picks up strength as dschungel B-216 (7:12) wanders the foggy byways of some blighted perimeter.
Rhythmic energies pulse through der regen's actively mutating undercoating of bass fluctuations and echoey shimmers. The deep buzzing tones and shapeless sax explorations of misery gote are lashed with the spastically flailed e-drums and crashing metals. Beat-free waal closes on an obtuse flow of humming magma from which unintelligible robotic voice patterns emerge.
* The series makes three pairings among spybey, harris and ambre (a.k.a. Belgian John N. Sellekaers). The first collaboration was the less-rhythm-intensive sfumato between Spybey and Ambre.
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