JoeFarr: "FUCK yes."
Eclair Fifi: "f*****g amazing"
George FitzGerald: "Silicium Romance for me."
Addison Groove: "yep"
Riva Starr: "nice EP thx!"
Hrdvsion: "heavy stuff! thanks!"
Michail Stangl: "Nice one. Enjoy the label more and more!"
Sam Barker (Barker & Baumecker): "very cool, like it"
Angel Molina: "I'll play 'Rhyonon', what a killer track! Thanks."
Back in 2014, as the influence of Tessier-Ashpool S.A
. was penetrating this timeline by means of our very label, elusive South-American cybersecurity expert Deke Soto inexplicably defected from the corp, transferred his consciousness into a local peripheral, founded NPO Soto Co., took the mantle of a recording artist and began embedding proprietary TA data and trade secrets into digital music files. Said music has since been shared freely countless times, or (facetiously) officially released via Sound Pellegrino and their physical imprint Expect No Less, respectively, so as to cover his tracks. These leaks and free exchange of information were proving disastrous for our transtemporal parent company, and, given local resources, there is very little we could do in this timeline. As such, two years later, we’ve been sent a copy of what Soto Co. would’ve leaked in the future (or, has already leaked in the future, depending how you look at it), simply titled “SotoLeaks” - a collection of their most pervasive and damning disclosures yet. As a pre-emptive strike, we’ve been instructed to purge the audio of all extraneous embedded data, and release it as such, so as to saturate cyberspace with inert files, and render any of Deke Soto’s potential plans redundant. Serendipitously, said inert files happen to be music that perfectly fits our established sonic axioms - a collection of four 130 bpm drum tools characterised by relentless dancefloor ferocity and peerless futurism in sound design.
Opener “Last Derm” is the missing link between his previous XPNL002 EP and this one, utilizing a lot of the same trademark sounds, while sprinkling in tasteful pinches of grime syntax and Afro-Caribbean morphology. Its anxious gait and full-frequency assault on the senses perfectly convey the withdrawal symptoms of coming down from one’s last subcutaneous dose of dermadisk hallucinogens.
“Rhyonon” is a aural recollection of “cultural fugue" (a state of terminal runaway of cultural and technological complexity that destroys all life on a world). Faithful to its concept, it’s best described as a drum machine deluge. Masterfully musical touches of flanger and varispeed arp interludes briefly break up the action, only for the flood to unceremoniously, but impactfully resume each time.
“Silicium Romance” is, functionally and structurally, an ideal companion piece to “Last Derm”. Aesthetically, however, it’s a far more subdued - if not, true to its name, almost amorous - piece, punctuated by hushed tones and sultry whispers.
Closer “Skymining” is a dubbed-out, ever-so-slightly junglist, industrial figurative tableau of a day in the life of an asteroid miner - a musical, sci-fi Arbeitsrat für Kunst piece, if you will.