The Sound Of Brenta Part 2 - V/A (Perty Records)

 

Title: The Sound Of Brenta Pt. 2

Artist: V/A

Label: Perty Records

Cat Number: PERTY003

Genre: Techno

1: Everyone Gets There – Sagats

2: Zeedredemption – Lucretio

3: Nothuman – Lucretio

4: I’ll Be Back – Steve Murphy

5: I Capelli Lunghi Dietro – Steve Murphy

6: Improvised02 – Marieu

7: Improvised01A – Marieu

8: Old Future – DJ Octopus

9: New Past – DJ Octopus

10: Connection – Sagats

I’ve listed the tracks incorrectly and couldn’t be arsed reordering them. I say this because the final track, ‘Connection’ by Sagats opens proceedings on this hiatus defying collection. And I say this, because ‘The Sound Of Brenta Pt. 1’ came out in 2013. Before Brexit, when the world was in a better place. ‘Connection’ is a great curtain riser though; all friction, grind and radioactive acid density. Apparently that’s Brenta’s calling card: “Dancefloor killers meeting abstract improvisations, fast and slow beats recorded straight from the machines. This is a specific sound coming from the area in between Venice and Padua (Italy), born from the passion for forgotten gears and the belief that limits are helpful for the creative process of music-making forcing every user to get the best out of what he got.” That was from a press release which gives some useful information for a change. Sagats is the only name here I’m unfamiliar with here, having come across everyone else on my voyage through the analogue vinyl backstreets. So this is real dirt under your fingernails house, you can feel the dust coursing through the grooves and across the top of the mix. There’s a wonderful lack of refinement that feels completely authentic and occasionally evolves sublimely to coalesce in such a way as to make you double take. Steve Murphy’s ‘I’ll Be Back’ is such a track. A pumelling beast along which travel a filigree of serendipitous woozy synth bass. ‘I Capelli Lunghi Dietro’ is even better. It’s a Fisher Price voyage into naive hauntology.  Marieu come across as the most abstract of all on here, with both of his ‘Improvised’ efforts defying rigid beat conventions. ‘Zeedredemption’ by Lucretio goes down a similar route, while DJ Octopus applies a subtle reverb to make his tracks vibrate where others can’t. It’s a more than interesting collection which examines the dancefloor from a very specific aural angle. Caught somewhere between the post-industrial sonic outskirts and the mid-nineties Chicago tracky hinterland, there is no doubt that that the pre-digital machines are in charge and making all the right noises.