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Ruthenium-116 is less radioactive.[1]


11 July 2011

Mix Act Duration
RU116 (Original Mix) Cramp 7:44
RU116 (Tritonal Remix) Cramp 7:12
RU116 (PROFF Remix) Cramp 7:16
RU116 (Cramp 2020 Mix) Cramp 3:21

RU116 (Original Mix)

Ilnaz took a wrecking ball to the floor with his electrotrash, which would stay similar & banging for years. The shuddering thunder makes a nice ferry to his otherworld, this biome ringing with an unknown vocal sample, oriental & aromal. It recedes for the psychotropic tremors, which are tripled with another set of noctivagant convulsions, & cosmivagant piano, a carefree, unaffiliated fantastication that lights up the place without being in it. RU116 is the deepening & widening of Vol 9, constantly accelerating, and when we get to the exosphere, that’s when it drops. No oxygen.

RU116 (Tritonal Remix)

The Texan's solution was not only rapturous ensorcellment, but retroactively obvious: they made the primary tremor higher at the end, giving a bold edge to this wind & fire wheel. Their trouse update also bloomed the sound & shake, including their electrobash, which is always unique, & always instantly identifiable. This time, they rang rings around the psychocution. By the way, their name means 'three tones' of music, & is also TNT mixed with aluminium to spread heat. The best stage name ever, & with this, the best stage.

RU116 (PROFF Remix)

Ershov, count of darkness, replaced the hammering with his neo-disco land of dreams, the piano threaded loosely in a net of warranted forebodement. The piano's own chrysalis-burst has holographic wings, all colours, all entheogenic. The upper piano colliding with the under nigrescence is a pair better than rocket fuel & fire.[2] Sadly, it's only a few seconds. Nothing sound editing can't fix.

RU116 (Cramp 2020 Mix)

IT didn't even necessarily return, years later, to make this. ABGT400's tiny edit has continents' national parks' full of removed content, from the sericultural piano drifts, to the behemothic afterplay. What's added is nanoscopic touches only, restricted to a modern beat thrown in that doesn't resemble Ilnaz Tarkhanov's work at any point at all. I am glad that Cramp got some attention after his heyday, but surreptitiously making tiny tweaks is not the way.