Reviews & Articles

It’s a whole different way of painting a soundscape, and she accomplishes it to great effect.

The pieces come together, and again there’s a feeling like the nice guy you just met at the coffee shop will save you when the apocalypse hits. Do not underestimate the resources that lie within.

Hats and noise sweeps slide by, like dry ice. I love the tension in this as it continually approaches and then recedes.

They live in the mud under the porch. They came from the same womb, but something went horribly wrong. Drums roll eerily, flies buzz almost melodically, and the once warm and inviting bass is somehow now terrifying.

Simple melodies leave the beats space to breathe, ironically leaving me breathless with switchbacks, subtle pattern changes, and detailed reverb creating just enough depth.

Soupy reverbed-out spaces and voices make you take off your headphones to make sure no one is talking to you.

The EP moves slowly out of darkness into light, with marching snares and swelling tones. The people come together, chanting away evil, and overcome the wicked and vile.

Corey uses TC4’s excellent “Grooves” EP to wax nostalgic about garage in the early 200s. It’s a great EP.

The momentum of the bubbly riff is countered only by the steppy African beats and occasional sweep to mark time.

The brutal stop-time acieed of “Jugg” by Skee Mask, sets the tone for this EP. Bass as percussion, Percussion as bass.

The simple elements that can make a great dance tune – scratchy samples hook you, driving bass propels you forward, and a great beat with subtle variation keeps you dancing.

It’s a delightfully breathless six minutes of pure pressure.