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Darkness might seem to obscure and hide what’s happening, but we find it’s always pretty revelatory: it brings out the awe in us, the fear in us, the excitement of exploring the hidden or unknown. It seems to conceal, but it really shines a light on what we want, what we need, and what we’ll do to get it. Especially when we think no one can see us. Constantly searching for new genetics, WOOD is glad to present our first collection of originals, dark and obscure tunes by new gems rising in the electronic music scenes. Surrounded by black atmospheres and strong sounds, characterised by deep grooves and basslines, the collection included four tracks by Klën (IT), Soko (UK), Main Leaf and Mesz_one. Sit back and enjoy this journey!
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Ukrainian techno pioneer Stanislav Tolkachev readies his fourth album, ‘It Will Be Too Late Then’, dropping on Krill Music in late May.
With a career spanning over a decade, Stanislav Tolkachev’s consistency as a producer is indisputable. The prolific artist’s ability to think outside the box is unrivalled and his experimental work has appeared on many respected imprints, including M_Rec, Semantica, MORD and Geophone. Berlin-based label Krill Music, originally founded six years ago in Buenos Aires, now prepares to release the producer’s nine track long player ‘It Will Be Too Late Then’ – Tolkachev’s second appearance on the label following a track on Krill’s Habitat VA series in 2015. The album will be pressed in Argentina to support the growth of the Latin American vinyl industry.
Spider-esque melodies inaugurate the release in ‘Ball of fire’ before clattering percussion generates a heightening tension in ‘OK. U can mix this one’, leading into the cavernous and murky ‘Draw me a seal’ and its various machine inspired sounds. Tough kicks and twisted arpeggios form the chaotic ‘Double damage’, making way for a rumbling roller titled ‘The dirty water’.
Tracks like the meandering ‘Truth be told’ demonstrate Tolkachev’s ability to transport listeners into otherworldly territories with its cacophony of intricately placed notes whilst the ominous ‘This game has no name’ possesses sinister stabs and echoing effects. Nearing the end, ‘Curly’ earns its name courtesy of a medley of winding keys until ‘You spoil everything’ concludes the package with raw drums, purring bass and a subterranean aesthetic.
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Savage Cult chants baleful anthem and invokes ancient myths somewhere between the ritual approach of tribal music, the sonic maelstroms of Power Electronics and the harsch way of Black Metal.
After exploring an ambient way on Accents Records, strewed of unknown sanctuaries and hidden spirits, Savage Cult returns to nihilist rites, litanies and war drums. He build another story on RND.Records , wich takes place inside the circle of worship, among the march of the outcasts to their strikes in Oblivion.
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Unmarked Shadows is an abstract sound story. People who refused to tattoo themselves an identifying mark are leaving undergoround. They decided to fight back. You don’t survive unscathed, but hope is not an option.
