Hidden In This Is The Light That You Miss
Finally, Regis lets his rhythmic noise opus out into the world, a bruising and hauntingly absorbing album - his first since 2001 - dispatched on his pivotal label; Downwards.
On a masterful twenty-year followup to âPenetrationâ, Karl OâConnor yields a definitive solo LP that distills his passions for sonic brutalism and bastardised Chicago tracks with syncopated UK swagger and reverberating warehouse ballistics. Its lip-bitingly gripping effect is testament to a resounding reputation as one of Industrial musicâs most influential producers, and sees the artist bring his own influences - from Test Department to Jeff Mills - into line with his potent palette of narcotised tones.
Recorded in Berlin with EinstĂŒrzende Neubautenâs producer/engineer Boris Wilsdorf, the albumâs supple, spartan, and rhythmic gymnastics notably benefit from acres of icy room to roll around and lash out. Snagged around muscular bassline revs, and caressed with keys and vocals by postpunk catalyst Annie Hogan (whose recent turn for Downwards was a total revelation), the 9 tracks portray Regis at his leanest and most mesmerising, which is all the more impressive coming from an artist whoâs deliberately held his line through club musicâs mutations for more than 30 years.
Between the razor-sharp electro of âEverything is Ahead of Usâ, and the pure voodoo of âCalling Down A Curseâ, he sharply carves a uniquely UK and shark-eyed style that lets on to influence from tech-step D&B and dark garage rolige as much as Test Departmentâs seminal âBeating The Retreatâ or 23 Skidoo and âCrackdownâ-era Cabaret Voltaire.
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Finally, Regis lets his rhythmic noise opus out into the world, a bruising and hauntingly absorbing album - his first since 2001 - dispatched on his pivotal label; Downwards.
On a masterful twenty-year followup to âPenetrationâ, Karl OâConnor yields a definitive solo LP that distills his passions for sonic brutalism and bastardised Chicago tracks with syncopated UK swagger and reverberating warehouse ballistics. Its lip-bitingly gripping effect is testament to a resounding reputation as one of Industrial musicâs most influential producers, and sees the artist bring his own influences - from Test Department to Jeff Mills - into line with his potent palette of narcotised tones.
Recorded in Berlin with EinstĂŒrzende Neubautenâs producer/engineer Boris Wilsdorf, the albumâs supple, spartan, and rhythmic gymnastics notably benefit from acres of icy room to roll around and lash out. Snagged around muscular bassline revs, and caressed with keys and vocals by postpunk catalyst Annie Hogan (whose recent turn for Downwards was a total revelation), the 9 tracks portray Regis at his leanest and most mesmerising, which is all the more impressive coming from an artist whoâs deliberately held his line through club musicâs mutations for more than 30 years.
Between the razor-sharp electro of âEverything is Ahead of Usâ, and the pure voodoo of âCalling Down A Curseâ, he sharply carves a uniquely UK and shark-eyed style that lets on to influence from tech-step D&B and dark garage rolige as much as Test Departmentâs seminal âBeating The Retreatâ or 23 Skidoo and âCrackdownâ-era Cabaret Voltaire.
