Black Meteoric Star’s impending arrival on Earth is marked by harbingers of planetary pressure walls – black linear schisms mapping forbidden languages across the dusk skies, earthquakes cracking the surface of Mars as it draws closer to its terrible alignment with Earth, an ice cold pinprick of darkened dread on the back of the neck during a torrid sleepless night, and a new remix from the grand wizard himself Gavin Russom is etched into black vinyl.
Petar Dundov can make the kind of rumbling and glistening techno that nestles snugly somewhere in between Matthew Jonson and Analog Fingerprints. But on last years “Escapements” LP, synthpop, balearic italo and stuttering beatless sound is thrown into the mix. Then when the high priest of synths, Gavin Russom, gets hold of it and shatters it across a foreboding alien synthesised landscape, all is transformed into a liquid analogue 15-minute fear anthem, clicking into mechanical life and making way for an apocalyptic refrain of fried guitar.
So then to another of our favourites, the sublime echoing crunch-terror of SALEM. Head to Merok for the newly released 7″ featuring sinister as fuck break-light in smoke artwork and “water”, “Redlights” and “Whenusleep” all inscribed on red vinyl. Plus, there is also new track, “Skullcrush”.
Heres the sound of anger and torment. A fresh scar is cut deep with every fluctuation thats interrupted by a buzzsaw hi-hat or processed out-of-time beat. There are three sides to SALEM. First there is the ethereally cracked beauty of Heather’s vocals on tracks like “OhK” and “Deepburn”. Secondly, there is the warped grime funeral procession of “imasheet” and “Trapdoor”, then there is the spectral horrordisco of the male-led vocal of tracks like “Dirt” or “haffa”.
“Skullcrush” fits into the third with strangled effects, bullet hole beats fractured into another entirely different rhythm and vocals from a flash-burnt throat. Underneath a grey abandoned town, a series of tunnels echo with the woeful mourn of a synthesiser played by a ghost, distorted by the water dripping upon it from the ceiling above, crackling in its ruined state and synchronising the scathing aural affects of “Skullcrush” to the steady waves of anguish pulsating from the hidden recesses where not even a ghost would dare tread.
March 3rd, 7.30pm, the Barbican, London
Two titans of the world of post punk will be hitting London in March – the rhythm queens of New York who put the funk into funk, ESG, and the jittering ska-disco of A Certain Ratio who were as much the sound of Frankie Knuckles as they were James Chance.