Anjunabeats Volume 10 Sampler pt. 2
4 March 2013
|Right On (Original Mix)||7 Skies & Nitrous Oxide||6:30|
|Ohh (Original Mix)||Mike Shiver||7:19|
|Animus (Original Mix)||Soundprank||7:35|
Right On (Original Mix)
When I started this wiki, I knew that I would have to detail the good songs at length, as well as the entertainingly bad ones. No song is good enough to intimidate me writing about it, but I do need to put the extra work into making you understand how cardially clysmic this music is.
David Boldoni & Krzysztof Pretkiewicz deserve more recognition for this. This is all that I can do for them, which is a shame, after all that they have done for me. This is one of the principal reasons that I started this wiki, so I must follow through with this task, which daunts me a tad, to adequately glorify this abyssmas miracle.
Thirteen seconds in, the disembodiment of swankiness swoops in, curving the most elastic, tight groove, flaunting the flexible, hidebound arcs, contouring the pattern of the sweetest intortions that sound can bring. Powerful music is not just heard, but felt, & this is more whipnotic than controlling your internal organs by will. & this is just the base- the tune has not yet stepped out from the landing capsule. The hi-hats & the electric gear bow combine to stop at just the right times, pinpointed precision melting & burning up the bedrock of sound. & that's before we hear the electrotrash.
RO pushes us further, seeing new mechanical electrofunk, so that we can stand on the shoulders of these Italian & Polish giants. The rising waves of nthe upcoming tune ebb & flow throughout the introtrash & into the tune warm-up, foretelling a psychotomimetic iliad, dazzling with casual but deliberate piano sprinkles that make Right On what it is as much as lemon meringues need eggs. The heavyweight piano drops in to reveal the purpose of RO, the recalcitrant piano figures that complete that sweetly-spiced kickback the base synth tune needs to become whole. Right On's tune is very simple & repetitive, & blisteringly dark, needing no further unraveling but delectably receiving it nonetheless. The base tune inspires tranquilising traumatism, epinephrine eversion, & fuligin pleasures. The electrowhine is as welcome as ever, raising the stadial bar into the sky, while the mech grunts at the end of each spin grounds us in carnal scorching. Sadly, the piano does not play one note during the climax, a problem you can fix with editing, but our consolation is a brand new double three-strike in the vein of Sunny Lax's Naida & in his remix of Tiburon. This new one starts off crashing down more mortifyingly than the K/Pg impactor did, before rocketing up again in a breathbreaking blend of lysergic liquation & horrific shock. The piano reappears in the tune aftertaste, after being mistakenly left out of the main event. Ah well. Right On is the goldblood of Vol 10, & the crown of the era.
Ohh (Original Mix)
Mike Shiver returned to grace us, for the last time, with an original limpidity that makes Vol 10 pop. Bursting out of the gate is his laudable laudanum, his simmering, sinisterly charged pretune bouncing off the main tune, eventually casting a bold contrast against the central design to craft a weapon bigger than the sum of its parts. The cymbalesque instrument ticks down to our blackening, a wracking forewarning of the sorrowful involutions to come, made of the beating, threatening haunt of the hunt closing in around you, combined with the future centrepiece. Wiklund perfectly captured the essence of feeling stalked & tracked, the ice-thorned blades of your pursuers catching up, closing in while all you can do is stumble. Horror was a real forte here, & it glides just lubriciously into the more liberated part of the song.
The main tune is in fact a miraculously sprawling, uninhibited, betentacled, kudzu-structured tune of purely unstopped, unmitigated saccharine dolour, thaumatin for the wintertime. Ohh deserves its name: the unrestricted vigour is a welcome advancement on human pleasure, a blazing, emotional outburst of C4ing epicureanism. The base piano pounds away, spilling all over the place among well-placed cracks & smashes, appropriately rising higher & ever closer to the heavens, drawing a parallel between the boundlessness of the tune's exploration & the ever-escalating energy of the expanding fray. This mirror between the substance & its structure is one of MW's fantastic achievements, alongside the shamelessly unrestrained tune that keeps adding more to the pile, heaping joyous synths crying out in bliss, spinning upwards & raining down tears of thrilled love. Mike outdid himself & others with Ohh, placing himself in third place of five among the Michaels of Anjunabeats, not including Michael Sparks.
Animus (Original Mix)
Colin's anjunaswitch echoed many others'. Jaytech's own transition happened the year before; Boom Jinx would make the jump alongside Fisher; & Andrew Bayer did this at the same time as well. 2013 saw a flood of new talent to make up for the brightening of the masters', so while Bayer & Eide thankfully found new electrotrash, a new generation of deep sea explorers found underwater forests of funk. CF's style here is not very different from his AD, past, i.e., this is almost entirely your typical Soundprank style, but something's changed: Animus has a new banging climax. He's gone house before, but only temporarily within songs, such as in the horror metal This Is A Prank. Animus, per contra, is structured around the climax, plus its now not-out-of-place intro+outrotrash. It's still recognisably him: his untameable style keeps the xenophonia of the alien piano, the cutting electrogrooves that smoothed his conversion, the featherlight beams of the brumy unknown that cloud the background, & the searing mechgrind that carelessly burns in the right place each time. But Animus is an advance upon his previous work. CEF has made the jump from merely severely bizarre, to outright surrealist. The mechanical, sensible electrotrash with its drums & such are clearly out of place among the inhumanly freakish piano, an instrument which even alone is uncanny & puzzling, striking notes that follow no pattern & no conceivable order, yet added up, form together: a meaningless, unsentimental, nearly unemotional Petri dish of placidity. To hear the piano march alongside the electromech is to feel a sombre confusion. Soundprank has ascended.
Of course, this deserved to begin Vol 10. The new tune that appears are 2:57 is the real centreweight of this brainwreck, alloying with the piano's supreme inhumanity to craft a perfectly nonchalant den of eerieness & neoteric fright, exactly balanced on top of a tolerable eel of a dirge. The piano is what makes Animus, & therefore Soundprank, legendary. The rest of Animus seems to only strengthen the strangeness of the piano by countering it.
Finally, the climax's lead-up was not too long: Fisher demonstrated here how to build tension as termites build magnetic cathedrals, how to slowly incinerate the air as the tension bends to a snapping point, the metal changing colours as a sky before a meteor, before oddly sliding right into it, another animose victory over normalcy from this champion of neural progress.
- Cassette, Koglin, Wiklund, Badal, Jay Parker.