Celestial Acid Eaters & Druid Drone Speaker Phreekrz..lets blast!!
Korsakov Music & Kodin just launched the “FULL SEND” grenade onto the dance floor. Releasing the “Snake Lies” EP on January 15th, 2021. This 5 song EP jumps into the dnb geist like a freshly built hydron collider. Ready to split our skulls and ideas of futuristic neurofunk into dark matter, opening a hole in the matrix we’ve yet to embark upon. Kodin (based out of Croatia) is on full display here. As a mastering engineer, his ability to showcase sound design is as pure as Heisenberg grade meth. Creating an intergalactic alien speedball with compositions as filthy as back black tar bought on the dark web. With the assistance of Tasha Baxter, Billain, Outcrier, Hinkstep & Saimiri. A new dark portal of drum and bass has emerged.
Boasting an array of credits from just about every single high grade neurofunk imprints in Europe, Kodin’s work speaks for itself. EatBrain/C4C/BadTaste/SofaSound/Korsakov/Delta9/RedLight/ Close2Death/Mindtech/Santoku/SubCulture/Overtech/Accension/Untied/BreakFast/Macabre to be exact. He may be your favorite producers, favorite producer. If not, he has definitely had a hand in the engineering assembly line that has been cranking out some of the heaviest dnb around this rock for the last 5 years or so. Coming off of an incredibly successful year of 2020 releases. Korsakov rips into this new year. Keeping the fire hot, our faces melting, and us literally pounding the doors off of hinges and locks at venues. Begging to hear this onslaught on a massive sound system, in a room full of the homies, going completely psychotic. The basshead’s soundtrack to a global prison release.
LET’S RIP THE DOORS OFF THIS HORSE AND GET INSIDE THE RIDE!!!
This first tune: Snake Lies , the title cut. It is next level saga composition. The blatant call to 80’s nostalgia horror movie synths and John Carpenter vibes are chilling. Tasha Baxter’s performance can only be described as, the best version of Beth Gibbons( Portishead) crawls inside the body of Amalie Bruun (Mrykur) via the cold darkness of the japanese torture film Ringu . The minor, discordant tone the synth lines ride bring back the feeling of old acid trips gone bad in the techno room at a warehouse in the Robocop run district of future Detroit. So dark and filthy. The drums don’t go full throttle. They ride a comfortable medium between off beat steppers and the current one two punch delivered in neuro. The array of snares weaved in and out of the mix with changes,rolls, and filters cannot be overlooked. It’s a super cool effect that proves sometimes more snares is more snares, and when done right. Its SIQ! This is a certified SLAPPER!!!
We Won’t Obey: aka The Crystal Method “Synthlord Slamfest”. This is the road where deep 80’s goth/post punk and drum and bass rave culture intersect. There’s an epic viral video featuring a group of goth rave kids dancing under a bridge. Everyone has used it for some utility around the earth. This is what I imagine they are vibing on. Galloping acid key lines, staccato vocal and synth stabs dive in and out waves of pink and white noise hurled at us. Kick, Snare, molten bass tones, sculpt this crunch & munch roller. It’s short and sweet. We dive directly into the deep end. We are shown how dark and weird it is at the bottom of the pool. And then, we are thrown out. Still kinda fucked up from the experience. As if you came across someone beating off in the park whilst you were on a afternoon stroll with a child.
The 3rd cut on this ripper: Selcouth, gets a little help from the homie Billain. We like us some Billain, we like it a lot! Selcouth follows the previous tune WWO perfectly. It feels as if they were written together, then reverse engineered & broken apart to create 2 similar, but different scores. We’re still riding the hard acid synth vibes. But they are less apart of the full frontal attack. The drums really drive the nail in the coffin here. Which is a signature color on the palette Billain draws from. Drop us in with a sci-fi esq’ intro scene. Launch us directly down the pitch black shoot onto a floor of vibrating subwoofers. This tune slams from start to end. The basslines pinch and squeeze hertz at all frequencies, pretty much the whole time. It’s definitely in the fast lane of dance floor dnb. Combining the best parts of sounds from the likes of older Kemal/Stakka/Skynet/Corrupt Souls/Konflict/Gridlok/Essasin.
Cyberpunk takes us around the last corner of this EP. It lives up to the expectations of the name. I look at this as another installation within the ethos of “Cyberpunk” named and themed songs within drum and bass. It slams you with constant stabs, bleeps, and aural sensations that fire rapidly. Similar to the ability to hear all of your neurons firing like signals sent across motherboards. The sci-fi female computer voice drops the hook , and we’re off! Bouncing all over the deep web, causing havoc. On a liquid diet of bull testosterone and hi -fructose corn syrup. This is the exact type of tune that gets a dying dance floor “LIT” again. A healthy reminder that combing high energy rollers, techy neuro, and “Hackers” influenced sound scapes are pretty fun, and never go out of style.
The end to this opus is a gorgeous colaboration with Outcrier . Lost I , featuring Hinkstep & Saimiri on vocals. Seducing us with mathematical reasoning for unity with science. Cast upon the outliers of a fallen future, trapped in a pod floating through space. A nymph’s dystopian call to the arms of reason at a time of reckoning. Outlier seems to bring some real funk and jam to this piece of toast. The syncopation between the off time stabs, stomping backbeat, and halftime rhythms sewn in and out gives this a push and pull. Some things seem to be falling out of place, but then you realize that its all in sync. Its just challenging your mind to adjust. Asking us to accept a little less perfect automation & structure,and accept something more freeform. Compared to the rest of the album, Lost I doesn’t let go until the flavor is all up in your ear.
This EP starts my 2021 with stank! Out of the 5 songs here. I would throw any of them into a set. As an entire piece of art. Its something that is can easily be enjoyed from start to finish as a cohesive work. The songs flow together quite well. So there was a noticeable effort to make it a journey. The art is super clean and a really great painting. If that was done by hand, it’s really cool and appropriate imagery to tie this presentation all together. This is a dnb EP sent from the engineering room of a sonic swordsman. Off of a label that is hell bent on releasing some of the best drum and bass we’ll hear in the next decade to come.
My favorite songs here were definitely Snake Lies & We Wont Obey. Everything hit just right here. But those two stood out to me as something I have heard before. But not wearing that outfit, and not with that sort of groove, drone, drive, key swings, vocal utility, and over all sound design. Giving them my official certification of tunes I feel that..SHAKE A PANCAKE OFF DAT ASS!!
Go pick this EP up. Get it all up in your streams, feeds, set, mixtapes, and hopefully speaker stacks as soon as possible. And let the tunes play. They are not that long, and they are really good. No need to just play the best 1.25 mins of it whilst bringing in 4 other tunes atop of them. Let the music play. This shit is sick!! The audience will thank you.
GO GET THIS RIGHT NOW!!!