Posthuman need no introduction. The cousin duo of Rich Bevan and Josh Doherty released a string of IDM albums on labels like Seed, Skam and B12 before turning their attention to a sound that would go on to become a staple of the artists ethos: acid.
Cyberdome follow up their debut release from Slacker with a wicked four tracker that represents the no-fuss, back to basics ethos that Posthuman hold so close. No frills, just high quality dance music. ‘Pleasure Machine’ is a squelching cut of acid-electro; robotic vocals, precise drum programming and a minimal approach crafting a track that very much defines the Posthuman aesthetic.
The worlds of UK bassline, dub and electro meet on ‘Titan Descent’; large and ravey wubs and stripped-back production creating a minimal-styled wobbler that highlights how less can also mean more. ‘Terror Police’ sounds like its batteries might be running out - as its bassy stabs begin to slow across a classic electro beat - before finding themselves back at 100% as a defected rhythm begins to melt.
Rounding off the release is a remix from electro royalty DMX Krew, who turns in a typically marshy cut rendition of the ‘Terror Police’ OG; a dark and creepy atmospheric journey through the Oblivion gate.
DJ Different dons his Terraform alias as he begins his journey in ‘Entering The Void’ on CYBERDOME; exploring phat electro bass-lines and party-starting ghettotech energy with its crosshairs fixated firmly on the club environment.
Born and raised in the culturally rich city of Malmo, the Swedish producer has previously released on London based label Deeply Cultured, Distant Hawaii, Mood Of Era, 1Ø PILLS MATE and Traxx Underground, spanning atmospheric techno, ethereal breakbeat and chunky electro.
‘Ultrasonic’ is an ear-wriggling cut of stripped-back psychedelia. As David Holmes would say, all the best electronic music tracks are made up of only a few components. Here, typical electro synth stabs, robotic vocal sampling and sparse precision allows the track room to breathe, whilst maintaining a deep and funk-driven groove.
‘Ghettotech’ sounds how you would expect it to; pounding kicks, frantic atmospherics and lairy screw-face hype combine on a certified fire-starter, before ‘Exiting The Void’ introduces itself on a footwork vibe that evolves into a sequence of interstellar-dungeon dub-electro.
‘The Rise of the Slavs’ takes its inspiration from the diverse group of tribes who lived in Central and Eastern Europe in the 6th to 10th centuries, establishing the foundations for the Slavic nations; it’s marching rhythm beaming historical context into 21st Century dance music.
