28 September 2013


I would submit that for a time Covalence is more akin to being trapped in a printing press than anything conventionally thought of as music. An oppressive wash of monotony closes in on all sides which reduces competing sounds, musical or abrasive, to little more than auditory hallucinations fighting for legitimacy through a fog. Then the first track comes to an end, and BLACK HAT begins the real journey. Two pieces of primitive and minimal subdued electronics followed by "Lattice and Coromant," a brilliantly tweaked high energy dance track - you've heard of "taking drugs to make make music for people to take drugs to?" That track is quite possibly the very embodiment of that methodology, and the execution is mesmerizing. The tape closes out with five more minutes of chilled electro-drone and a stunning proto-industrial piece titled "Singing Point," and I want nothing more upon the conclusion of Covalence than another listen. I want to submit completely to these sounds.

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