Black Asteroid – Metal (2014)

Bryan Black AKA Black Asteroid returns to Electric Deluxe with his most precise and daring invention yet. ‘Metal’ picks up from where the ‘Black Acid EP’ left off with more sonic alchemies sounding unlike anything else. The former Prince engineer turned MOTOR front man turned galvanic techno DJ, producer and performer has had an incredible run in his latest guise. Since debuting on CLR with ‘The Engine EP’ over a series of well-shaped and energetic releases Bryan Black has forged a distinct and unique signature that is tactile, otherworldly and utterly timeless. Ingenious sound design has become his calling card, while Black’s award winning MOTOR heritage never seems far behind. Moments on ‘Black Acid’ felt like he brought the band to the DJ booth. And with ‘Metal’ the sentiment rings even truer. This is ‘heavy metal techno,’ says Black, ‘but in a very restrained and controlled way.’ Indeed the hum of guitars (synths routed through guitar pedals) whirr through lead track ‘Metal,’ a taut and punchy workout spliced with token Black Asteroid weirdness. Meanwhile Black gets even more contained on the masterfully metronomic ‘Turbine”. Droid affiliate Luis Flores and Pinion (Bobby Dowell) then split ‘Metal’ off into its opposing sectors. Flores takes things straight the dance floor, while Pinion ramps up the noise and clangor to turn in a real unholy ‘Metal’ monster. Another must for Black Asteroid fans and for those who like their techno cast from mysterious molds.






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John Carpenter – Assault on Precinct 13 (1976)

One of the film’s distinctive features is its score, written in three days by John Carpenter and performed by Carpenter and Tommy Lee Wallace. Carpenter, assisted by Dan Wyman, had several banks of synthesizers that would each have to be reset when another sound had to be created, taking a great deal of time. “When I did my original themes for [Assault] … it was done with very old technology,” replied Carpenter. “It was very difficult to get the sounds, and it took very long to get something simple.” Carpenter made roughly three to five separate pieces of music and edited them to the film as appropriate. The main title theme, partially inspired by both Lalo Schifrin’s score to Dirty Harry and Led Zeppelin’s “Immigrant Song”, is composed of a pop synthesizer riff with a drum machine underneath that “builds only in texture, but not thematically,” according to David Burnand and Miguel Mera. A held, high synthesizer note, with no other changes except inner frequency modulations, becomes the musical motif of the gang members, and reoccurs during certain violent acts in the film. In the film, synthesizers and drum machines represent the city and the gang.



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Kostas Maskalides – Sodom (Black Asteroid Remix) (2014)

Kostas Maskalides, originally from Greece but living in Belgium and known from releases on labels such as Nachtstrom Schallplatten, Driving Forces, Frakture Audio and many more sets his first steps in the RC headquarters with a banger of a track. If you love the Len Faki style and love your sets to be as pounding as possible this one is one not to be missed! Using vocals and small to large fx sounds in an almost perfect positioned way the track will not let you loose from start to end. On the remix duties nobody else than Black Asteroid delivers his typical but very effective stamp to the release. And last but not least Lowkey and Kardinal, both french producers, bring an upfront and more rich sound with their remix! RC is very happy to welcome this gang of techno pioneers! [Source]



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