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Indian E-music – The right mix of Indian Vibes… » Michael Aniser

10 Leading Cassette Labels in the UK

Delivered... Michael Aniser | Scene | Sat 4 Jul 2015 1:00 pm

Opal Tapes

I always imagine Stephen Bishop, who runs Opal Tapes, sitting in some room in northern England in front of a plethora of tape decks, dubbing hundreds of cassettes. I can almost hear the sound they make—the soft, constant hiss regularly broken by loud clicks. So many seminal releases came out first on Opal Tapes: I discovered Huerco S., Xosar, S Olbricht and Ketev here. You should also check out Mr. Bishop’s Basic House project, where he scuffs up post-industrial house blueprints with some proper harsh noise. While you’re at it, check out Drunk in Hell too, the band Bishop plays in when he’s not dubbing tapes. (Can we get a Drunk in Hell remix tape, please?)

Tesla Tapes

This is a personal favorite. Tesla Tapes is operated by the ruthless minds behind the tribal/psych/drone/ machine that is Gnod. The collective hails from Islington Mill in Manchester and releases some of the most exciting experimental stuff at the moment, from disturbingly accurate renditions of working-class drug abuse by Michael O’Neill to RIPIT’s haunting and intense sound studies. All the Gnod side projects—Dwellings, Druss and Negra Branca—find a warm home here as well.

Zam Zam

Bristol’s Zam Zam is a hub for everyone involved in super sick stuff at the moment, and offers a glimpse into the mind of an artist who also operates D.I.Y. Church. I’m especially into DJ Shlucht’s Snakes on a Plane, where ADHD sound collage meets cutting-edge internet memes. There is way more on Zam Zam than I can name drop here: Střed Světa, Anthroprophh or Mark Wagner. You name it, they got it!

Chin Stroke Records

After a phenomenal appearance at the Bangface Weekender, Chinstroke Records is set out to bring some fun back into the stuck-up contemporary electronic music scene. It’s run by DJ Detweiler, who’s most famous for inventing an EDM genre called “flutedrop.” DJ Dadmagnet and DJ BusReplacement Service are just a few of the amazing artists worth checking out.

Where to Now? Records

With its airy design, Where to Now sports some of the best-looking tapes out there. But they also serve as high-quality vessels for current sounds from the likes of Lutto Lento, Wanda Group and Beatrice Dillon. The label’s upcoming releases include works by the godlike electronic artist Jesse Osborne-Lanthier, whose compositions confuse the boundaries of the art and music world, and Moon Wheel, a producer at the forefront of a new, smarter techno scene.


The first time I listened to 1991’s self-titled release on Astro Dynamics I was like, “This is it.” It’s rare to experience sound that captures a feeling, a time and a place so perfectly. If you had to sum up the 2013–2015 retro house/ vaporwave/hyper-nostalgic/hauntology scene with one release, 1991 would be it. Another act on Astro:Dynamics, Best Available Technology, draws heavily from the ’90s. Kevin Palmer found some of his earliest productions in his basement and is releasing them in a series called Excavated Tapes 1992–1999.

Sacred Tapes

Callum Stephen Higgins’ label set out to catalog the “vast quantities of work coming out of Manchester’s noise scene.” That mission probably also determined the design of the tapes: just a simple serif font, and that’s it. Beautiful works have been released here, like John Powell-Jones’ “The Necromantic Bell of Giradius” or River Slaughter’s “Infallible Godhead.” Super limited quantities and a dedication to out-there sounds make this label integral to the UK’s tape scene. With the release of a four-kilogram block of concrete last year, it also managed to produce the heaviest tape collection of 2014. Congrats!

Memorials of Distinction

I’ve noticed a certain trend running through tape releases over the last few years—it’s almost like we are slowly getting over irony. I picked up on actual political activism, real feelings, real concern and a real No Bullshit attitude when listening to Communist Slow Jams by JPEGMAFIA. That release alone should get Memorials of Distinction into every top list there is.

Reject and Fade

This is really dark. Bleak as the ruins of a failed industrial site in northern England. The label is run by Michael Hann, an artist also known as Rejections or Marreck. Releases on this still-young label include works by rkss, one of the most talented upcoming producers at the moment. (Full disclosure: I’m about to release rkss on my own label, Noisekölln Tapes.)

Tombed Visions

The Quietus named Tombed Visions their tape label of the year in 2014. I don’t really have anything to add to that. Just check out some of their releases and bliss out to all the sheer beauty.

10 Berlin Club Toilets in Review

Delivered... Michael Aniser | Scene | Sat 27 Jun 2015 1:00 pm

Years of research went into this list. While at one point there would have been no real demand for it, the listicle has become a key instrument of modern lifestyle journalism. When it comes to ranking toilets, our general rule of thumb is: the bigger the club, the bigger the toilet. However, size doesn’t automatically imply quality, as you will see when you visit the toilets included here. In general, I advise you to make up your own mind and form opinions based on experience rather than blindly following this list. It’s simply a starting point—and it’s also highly personal.

1. SchwuZ

SchwuZ has literally the best club toilet I’ve been to in my whole life. There are probably fancier potties out there, but this bathroom makes an astonishing first impression. When you enter, you’re immediately blown away by the hundreds of stalls. There are stalls EVERYWHERE. They could open a whole other club in there. The interiors have nice little tables to leave things on while you’re hanging out. The booths are also decently sized, which is a plus if you like to take a crowd in with you.

2. Berghain


The Berghain toilets are where it’s at. They have their own lore and legend—including that there are secret potties stashed all over the place—so let’s take an in-depth look. All of the main restrooms in Berghain have a minimalist, utilitarian design: there are no shelves, which means you can’t lay a phone down anywhere, and the bowls are made of metal, which makes them easy to hose down. On most nights, the staff does a stellar job of cleaning those puppies every few hours, and that alone sets them leagues above most other club toilets.

Panorama Bar’s main WC is a social hub, a place to meet people, a place to talk and lounge on ratty couches and smoke and cheer. Many music industry deals have occurred its bowels. It’s easy to get a conversation started and chat with an amazing new acquaintance for hours while someone who actually needs to pee pounds desperately on the door. The downstairs restroom next to the main Berghain dance floor is a classic—I mean, who among us hasn’t passed out there on the sofas while trying to decide to whether to go home or have another dance? The toilets on the ground floor are suuuper chill. You can peek out the window at the queue and lol at everyone down below.

Berghain is a very unique club, and by now probably everyone has heard tales of expats’ sexual adventures there, but people are still super secretive about what’s going on in the toilet stalls. This is a bit weird.

3. Tresor

Hegemann’s is a classic club toilet. There’s nothing bad about it and nothing really special. The locks work well and the compartments are spacious. I would recommend this one to pretty much anyone who loves clubs and toilets.

4. Kit Kat Club

If you have ever deemed of being REALLY CLOSE to a throng of unfamiliar bodies, this is your Eden. Once you wedge yourself through the sweaty people crowding the entrances, you can find some eloquent conversationalists. Security checks the cabins pretty frequently, which is both a pro and a con. They may interrupt whatever’s going on in there, but they’re not trying to arrest you. Plus, if you really need to go, the group in the cubicle that’s been standing around an iPhone and chatting with their AirBnb guest won’t be there too long.

5. Salon Zur Wilde Renate

Have you ever wondered what would happen if you gave a whole house to those kids that you see at all the parties K-holing in some corner? Well, here it is. Renate is a house: some rooms, some beds and some toilets. There is no real distinction between the actual toilets and the dance floor in this maniac mansion. Be careful where you step/sit. It’s an ubiquitous, kind of eclectic approach to toilets. Some love it, some say, “This was funny for a bit but now is just so over.” You decide.

6. Club der Visionäre

The whole club is kind of a toilet, because it’s next to the water. And the toilets are kind of like the whole club, because they’re derelict, tiny and full of old people on K.

7. Griessmühle

This one is for the connoisseur, so you must be somewhat adept in the world of club toilets to fully enjoy it. Not for the faint of heart, this is the true underground: grimy, gritty and kind of groundbreaking in its simplicity. The locks are often broken so you have to hold them shut with your foot while you hover-pee, and in that position it’s hard not to number one on yourself. You might find yourself in a huge queue at first, unaware that there are more toilets down the hall. That’s where the real magic happens. You have to experience this for yourself to understand the elation and glee one feels when he finds three empty stalls in a club at five in the morning.

8. OHM Berlin

Technically this club is Tresor’s little sister, so it’s in the same building—in fact, the whole thing used to be a bathroom back when the building was a power plant, isn’t that ironic? It’s cozy, cute and nice. This one’s for beginners, and a welcome entry point into the world of club toilets.

9. Golden Gate

There’s a rumor going around that Golden Gate has a storage room full of fresh new johns so they can replace the broken ones after every weekend. It can get quite wild here, and parties last way into Tuesday. This is your real Berlin experience, something to write home about.

10. Chesters

Glass doors? Seriously? WTF?

Header image; second photo

Cassette Labels that Define America’s Tape Scene

Delivered... Michael Aniser | Scene | Fri 5 Jun 2015 11:22 am

We kicked off our new column on various cities’ cassette label scenes with the birthplace of tapes: Germany. The subject of our second installment, the United States of America, is a whole different beast. Thanks to a few blogs and podcasts dedicated to the medium, like the Tabs Out show, the tape scene never went extinct in the States, especially in noise and punk circles. Some labels press as many as 300,000 cassettes, quantities that German counterparts can’t compete with. In America tape labels might outnumber the variety of weed strains—and as this Tape Label or Weed Strain? quiz illustrates, they have similar monikers—so we decided to pluck representatives from a variety of genres rather than providing a comprehensive guide to every imprint.


We might as well get the hottest tape label of 2015 out of the way first. 1080p, the blog-turned-tape label run by Richard MacFarlane and lauded in our recent interview with fellow bloggers No Fear of Pop, is as HD as it gets. It captures the post-Internet hype acts down to the second with an extremely eclectic catalog that ranges from grainy ambiance by Opal Tapes alumnus OOBE to easygoing house tracks courtesy of EB mix contributor Saffron and other uncategorizable wacked-out projects from the likes of Dan Bodan, SETH (James K. & Gobby) and Via App.

Beer on the Rug

Beer on the Rug eventually invented vaporwave—just ask EB contributor Adam Harper, who wrote an infamous microgenre report about the scene a few years ago. Those were the old days (you know, like, around 2012) when the Internet was still naive. These days, the constituents of vaporwave’s ravenous market of collectors fork over high sums for Beer on the Rug tapes.

NNA Tapes

The releases from Vermont’s NNA Tapes are simply beautiful and no frills.

Not Not Fun

Not Not Fun, a relative of the house-oriented 100% Silk label, is kinda famous on the scale of cassette-only labels. They’ve pressed tapes since 2004 and recently started to releases some 12″s, but they’re still a mainstay in the tape underground. NNF’s 300th cassette was pretty much the hit of the decade: Profligate’s “We’re Desperate,” which is an amalgam of Belgian New Beat with a fair amount of distortion.

Burger and Wiener Records

Indie Major Burger Records is something like the Sub Pop of the tape revival, as it takes in a sonic zeitgeist and chops it up into disgestible plastic artefacts. The main label has released music from contemporary rock greats like Ty Segall as well as a litany of smaller bands. Meanwhile, its sublabel Wiener “allows any band to have their tape mastered, pressed, packaged, and promoted through Burger, but without the Burger label. This is our go-to Tape Label of the moment.

Hospital Records

Although Dominick Fernow’s Hospital isn’t a straight-up tape label, it’s cassette game is very strong. You can find virtually any Fernow alias (Prurient, Vatican Shadow, etc) that has released music in tape form on Hospital.

Gnar Tapes

Gnar Tapes seems to come straight out of the hipster-lampooning TV show Portlandia. It has a DIY ethos and flowery artwork, which means they bring the dream of the ’90s to your car stereo.

Crash Symbols

Crash Symbols calling cards are top-notch graphic design and sleek sounds. Most of the releases would probably work better as digital files, but the tape hiss adds a nice and welcome lo-fi touch.

Ascetic House

Like Hospital, Ascetic House deals in the darker sides of DIY. Here, a post-punk approach meets droned-out distortion heavy feedback loops.

The 10 Cassette Labels Keeping Tapes Alive in Germany

Delivered... Michael Aniser | Scene | Thu 14 May 2015 9:00 am

The cassette has played a significant role in international music and culture since Germans invented the means to mass produce them in the 1960s. Although tape manufacturing scaled back as other mediums rose to prominence, the cassette has remained an integral medium, especially for independent artists and especially in Germany, where a scene of cassette-only record labels has blossomed. Michael Aniser, founder of the Berlin-based radio show, party series, tape imprint, and “anti-curatorial” music kulturhaus Noisekolln, compiled a short summary of some of the country’s most exciting tape outposts and artists.


Sameheads is the current hotspot for Neukolln art types. It’s a bar, night-club, artist collective and studio space that local musicians like Bintus of the hard techno crew Power Vacuum call home. Part of its popularity derives from its prime location in Berlin’s trend capital, Richardstraße. After years of throwing parties in underground locations around the city, Sameheads decided to mark their vibrant and volatile endeavors with physical mementoes distributed by their own in-house label. Its inaugural release comes courtesy of Andy Votel and, according to label head Nathan Dukes, there are a lot more on the way.


Mansions & Millions honchoAnton Teichmann told me he chose to release cassettes because he likes dubbing an outdated medium with new content. CDs are pretty much irrelevant and vinyl is too complicated to produce, so his label aims to capture the leftfield post-indie scene of the Berlin-Montreal axis (yep, that’s a thing) on cassette. The first offerings come from dream rap  outfit Magic Island and weirdo-pop artist Antoine 93.


If you like super faded drones and chill experimental stuff, or if you occasionally burn some incenses next to your Juno 70, then SicSic might have just the soundtrack for you, friend. With a catalog that’s cranked out over 70 releases, the Frankfurt-based label has shaped the magnetic German underground for quite some time. Check out the Alpár/S Olbricht split as a starting point into its world.


Tapes are not just a cheap means of production; they’re beautiful works of art! Well, some of them are, like every release from Camp Magnetics. The boutique label’s carefully crafted packaging recalls the golden days of Cologne minimal house and techno. Erdbeerschnitzel, Popnoname and the label owners themselves helmed its first releases.


Grafiti Tapes is “a new concept” from Berlin’s Klasse Recordings crew that’s “primarily concerned with the real deal underground vandalisms” by combining street art and heavy beats. The first cassette came from Stilleben boss and wacked-out electro stalwart Luke Eargoggle, but I’m especially into the second release, which features Swedish spraypainter NUG, my favorite street artist ever.


Although Mannequin Records doesn’t release cassettes, but its work is integral to the tape scene. As the label head, Alessandro Adriani has unearthed many forgotten Italian New Wave and minimal gems, especially limited edition copies, demos and failed attempts to “make it” and brought them back to life via re-releases.


Breakcore fans worship at the alter of Berlin-via-Japan label Small But Hard. Releases from Scotch Bonnet (AKA DJ Scotch Egg) and Walter Gross push the limits of what you might perceive as “music.” You have been warned.


Elia Bulletti is probably the most DIY person I know, and I know a lot of DIY people. His label Das Andere Selbst evokes that vibe you get when you’re hanging out in the park with some artists and someone dabs a beat on a crate of beer while the fire crackles quietly, and then it starts to rain so you go into someone’s studio and listen to some hardcore beats.



Berlin has a lot of high-profile record stores, like Hardwax, Spacehall, the Record Loft, Bass Cadet, Audio In, Mitte Musik, and so on. Although Staalplat isn’t necessarily one of the most famous shops, there would be no European noise or experimental underground without it. If you ever wanted to know what’s going on with harsh noise at the moment, or if you thirst for some field recordings, then this is the place to look. In the early days, when the retailer was based in the Netherlands, they established a cassette label that went the way of the dodo as the medium disappeared. But, as curator Rinus van Alebeek wrote in this introductory post, “they are both back again.”


One of my favorite Berlin record stores, OYE, launched a ten-part tape series to “support the Cassette Tape as a great medium for Music still in 2015″ [sic] and give its knowledgeable employees a platform to showcase their favorite records. Each tape is limited to 30 copies, and if you collect them all, the pictures on the jewel cases make a picture, which is pretty cute.

Other-World Music: A brief chat with Sinkane

Delivered... Michael Aniser | Scene | Fri 14 Dec 2012 2:12 pm


Ahmed Gallab emigrated from Sudan to the US when he was five years old. In high school, he became immersed in the DIY punk and hardcore scene, playing in several bands. On his latest album MARS he mixes a wide array of sounds and brings about a new and different kind of world music.


What led you to start your own project?

In high school I played music all the time, and later in college I got really serious about touring and was heavily involved in punk. I was always playing with other people and in 2006 I felt I had come to a place where I wanted to create music based on my own personal ideas. That’s how Sinkane started.

How did you come to work with Caribou?

In 2008 I went to one of their shows in Queens with a friend of mine and gave Dan Snaith my album. He seemed to like it a lot, he responded a few month later and from there we became friends. Then their drummer broke his wrist and they needed a replacement, so I started touring with them.

Did you also work on your own stuff back then?

I was releasing my first album Color Voice while I started to get really busy playing music live.

Your new album sounds like it was produced forty years ago. Did you use a lot of old hardware?

No, totally not! I spent a lot of my time crafting sounds, but it wasn’t as elaborate as you might imagine. I recorded it all on my laptop… there weren’t any crazy mic-techniques or amps, I just plugged in and played. There’s no romantic story behind it.

What’s influential for you on this album?

I listened to a lot of spiritual jazz when I was starting Sinkane throughout the process of recording. When I started working on the new album Jason Trammell, who plays drums in the band, put me on to Holado Negro and he was a huge influence! He is so good at what he does. His music is just beautiful.

Why the name MARS?

It’s about my experience of moving to New York. I was having a really hard time making friends, so I spent a lot of time working. I felt like I was in this desolate place and that shaped a lot of the songs. I spent every single day just working nine to five on the music. I just tried to find this place where I was comfortable, and it took me some time. The name MARS is just a reference to something alien, desolate or far away.

Isn’t Mars also the god of war in greek mythology?

You are the first person to say that, and I never thought about it that way. A lot of people think deeply into the album title, but it’s not meant to be that way.~


Sinkane’s Album MARS is out now on Cityslang.

Syncing with No Fear Of Pop: Charlatan – “Kinetic Disruption”

Delivered... Michael Aniser | Scene | Thu 13 Dec 2012 4:40 pm

While there has been quite a lot of talk this year on the coalescence between noise and techno and house, as far as we can see not that much emphasis has been put on appraising the differences between that breed of mainly American artists coming straight from the noise underground…and their predominantly British counterparts, whose access usually stems from more dancefloor-friendly subsets. Among the stateside proponents, be it Container, Thought Broadcast, and perhaps even Austin Cesear, what is striking is a certain reluctance to let their tracks be built in a straightforward manner.

This sonic disposition appears to be the result of a conscious decision to let noise textures that those artists have mastered command the outcome of a composition, with the principal 4/4 beat remaining in a rather unobtrusive position. “Kinetic Disruption”, taken from Charlatan‘s new LP Isolatarium, is a perfect example of this approach. While Digitalis boss Brad Rose has been experimenting with beat structures under the Charlatan name for quite some time now, intricately constructed, deeply textured noise arrangements remain the artist’s familiar suuroundings. The track’s rhythmic backbone stays pronouncedly fragile, incapable of stabilizing or carrying the eight minute-long, noise-infused soundscapes. something you’d somehow expect from a piece of techno (compare “Kinetic Disruption, for example, to the hauntological beat explorations by Pye Corner Audio‘s “The Black Mill Video Tape” from his recent Sleep Games LP, a piece that clearly positions itself on dancefloor’s fringes as well, yet placed within a rhythmic framework that is much more dominant and straightforward). The result is considerably more abstract and reduced than your average techno banger, leaving its almost hypnagogic noise roots intact and in the foreground. A thrilling, challenging piece of music.

Isolatarium is out on Type Recordings. Order it now over here.



A Lesser Evil: an interview with Doldrums

Delivered... Michael Aniser | Scene | Thu 6 Dec 2012 12:01 am


Airick Woodhead has had a pretty busy year. In the guise of avant-pop beast Doldrums, the 22-year-old has been touring with Grimes and Purity Ring, and is now set to release his latest album Lesser Evil in February via Arbutus/Souterrain Transmissions. He’s came a long way from his early tape loop experiments and the leftfield DIY scene that spawned him. We spoke about the Montreal scene and its similarities to the things going on in my home of Berlin… And parties, of course.



How is the scene in Montreal? There are so many things coming from there right now.

I feel like in the last couple of years there’s been a big migration of Canadian artists to Montreal. I’m happy to be there. It’s something akin to the summer of 1989 rave scene. Every weekend there’s big all-night parties, crazy kinds of noise shows.

I heard about riots going on in Montreal, though in Europe the media doesn’t cover that much, if at all.

I was on tour in May last year in Europe when the student riots were going on. Montreal’s got a long history of volatile politics, terrible brutal cops and also reactionary factions who want to separate from the rest of Canada. They blow up mailboxes and stuff like that. Last year was all about that, everyone wanted to come riot and pitch their own ideology in there. In a similar way the 99% movement is fuelled by confusion and misplaced anger. It’s just in the air in Montreal too, because there are the French and the English and the students and the people who live there.

We had an interview with D’eon on the website and he also talked about this combination of rioting and heavy partying. Fights on the street…

D’eon is a softy, man! [laughs]. The last party I had in my house people were on PCP and throwing bricks through my window. But I would say beyond us there is not a lot of crime. It’s a very safe place to live in terms of crime.

Is there a strong DIY, house party scene?

You don’t go to a bar in Montreal, you go to a friend’s house and drink.

You do a lot of shows there?

There’s this old industrial district where everyone in the art and music world lives, and you can make a living by throwing a couple of parties a month.

It’s the same here in Berlin in the Neukölln area. Everyone seems to live here now and a lot of stuff is happening.

It’s so funny, I come to Berlin and I know what’s going on, but there is no way to getting in if you are from the outside. And that’s why these scenes breed an actual conversation between musicians and the venues they are playing, because it’s so contained. Today the biggest problem with music is that there is not enough time for artists to develop what they are doing before they’re cast out into the spotlight or the global scene. It’s rare when you can find a real community where music grows inside of it. What are some good Berlin bands?

Not sure where to start here. I’ve worked together with so many amazing bands, I’d recommend checking out Ill Winds and Sun Worship for a start. I was also doing shows for bands from Montreal, for Tops or Sean Nicholas Savage…

Yeah, you got it man, those are the people I know. It’s not like some scene where everyone is like, “we’re cool, we all do garage rock”. Everyone is just really dedicated.

It’s more like a geographic coincidence?

Everyone was looking for somewhere where they can do what they wanted to do.

How would you describe your music?

Psychedelic! I started music because I wanted to make something as easy as possible, that was as good as possible. I discovered this whole community of people interested in sampling. I listened to a lot of early 90s noise stuff, political stuff like Negativland, this one tape I got by a guy called Purist. I responded with an album called Live at Silent Barn: Re-heckled Slogans for the 21st Century Wunderkid, it’s on the internet for free somewhere. That’s as leftfield as I got. But then I can’t help it and think of pop songs in my head too. I’ve come a long way since the tape-loop stuff, I see myself as a more conventional musician now.

The tracks on your new album go in so many different directions, what do you think about the album format?

Once you are thinking “album”, you are thinking these big thoughts. It’s a phenomenal feeling; just to conceive of making something so huge. Making one sound, making a drone is enough for me sometimes.

I listen to a lot of drones.

There is a song on the album called “Lost in Everyone” that I spent, like, twelve hours on, all day inside of that sound to get it right. Then I put it into this pop song. My favorite record when I was a kid was Music for Airports, it’s just so good! We had a big party, like 300 people on drugs and then we just turned out all the lights and played some drones. Everyone just started to lie down. It was beautiful. ~

Welcome to the other side – Michael Aniser recommends The Weeknd’s Trilogy: Thursday

Delivered... Michael Aniser | Scene | Thu 29 Nov 2012 4:31 pm

I must admit I kind of slept through last years R&B craze, The Weeknd however I was listening to. As Daniel mentioned in his take on House of Balloons it was just too exciting to opt out of. Plus, it was hard to miss as it was everywhere. The interesting thing about Thursday is that it marks Abel Tesfaye’s break out from underground sensation into a mainstream act. It’s not so much the music that was mainstream, but the numbers: 180.000 donwloads in it’s very first day online. And a Drake co-sign. The sounds range from mellow R&B, soul, plus licks of post punk guitars—a novelty for R&B at that point. It perfectly captures what was going on in ’11.


The track I listened the most is “Life Of The Party” which starts with the words, “Welcome to the other side” and is centered around some weird group sex situation in which our protagonist, Tesfayes’s drug riddled alter ego, goes on some crazy binge, probably on a Thursday. So this installment of the series is way darker then House of Balloons, where you will find, yes, Siouxsi and the Banshees samples, yet here things get even harsher, with the application of far noisier beats. On first listen this seems a bit weird, but when you follow the story you will recognize that this was one of the more exciting releases in 2011. It was definitely in my top 10 list last year, and now I have to consider charting it this year too.

10 x 4: Triad God

Delivered... Michael Aniser | Scene | Mon 26 Nov 2012 4:39 pm

Triad God is the latest and greatest thing to push out of the holy maw that is Hippos In Tanks. Hong Kong-raised Vinh Ngan’s ephemeral hip-hop sketches are centered around the brotherhood of his New Cross Crew in his home of South East London. We fired some questions his way and got them answered by producer Palmistry, who crafted the beats for Ngan’s debut NXB.


1. Your most memorable show?
I feel indifferent about this but probably Watch the Throne because Kanye West  fell into my section of the crowd and promptly had the fans who pulled him in thrown out.

2. Is any aspect of fame important and if yes, why’s that?

3. If you were still in high school, which clique would you belong to?

Definitely rejoin the religious zealots.

4. An album that changed the way you thought?
I never really had that experience with a record yet. It’s always been my peers and friends who have inspired my approach. At the moment Lorenzo Senni‘s work is bringing about change.

5. What does underground and mainstream mean to you?
Major and Minor.

6. What defines your music-making process?
Prince’s mindstate from 2mins20 in Swear down.

7. Your current favorite track?


8. Raging or chilling out?
Gotta have venom and the antidote.

9. One thing you can’t live without?
Steam Buns Baozi.

10. A film or book that greatly influenced your music?
Gu huo zi: Zhi ren zai jiang hu


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