DJ Scud vs. Rich Kid / Slepcy

DJ Scud vs. Rich Kid

Murder Sound


And Again


It’s a fucking breakcore/splatterbreak mashup, with the Ambush crew, once again. Oh yes. Never before did gravel down your throat feel so good.

Murder Sound is DJ Scud and Rich Kid (better known as Panacea)’s tribute to early ’90s hardcore rave. While the two mine that territory for samples, the music bears only a passing resemblance. Where hardcore proved effective for extended dancing, god knows what maniac speedfreak could dance to this madness for more than ten minutes.

The DJ Scud half of the split is characteristically mindblowing. He’s taking the dancehall influence farther than on previous releases; here, he goes so far as to include a dubbed out number. Of course, it only retains the massive holes that dub punches into reggae, and the slower tempo; there’s more than enough distortion and careening noise to satisfy the more ardent fans. Of his five tracks here, two are from the impossible to find Gun Court seven-inch, co-produced with DHR favorite Schizuo.

The other half of the split is by Rich Kid, another of Matthew Mootz’s aliases. This half of the split is reassuring; it’s a sign that Mootz is staying away from the mediocrity of his split with Cativo. It takes him a while to really kick in with the breaks, but they’re pretty devastating when they come in. “Screwface” sounds like much of the Possible Records sound; slow beats with plenty of dark atmospheres and ugliness. Overall, the CD is a pretty rousing success.

Slepcy are a duo from Poland who stir up some ugly, haunting breakcore noise. Unlike many of their Ambush brethren, there’s no reference to dancehall here; Slepcy are cut from a much different. Their sound is more in the vein of the early Third Eye Foundation CDs, Ghosts in particular. The two share a lo-fi concrete noise aesthetic, with a penchant for processed vocal moans, layers of guitar noise, samples of unknown origin and complex beats. However, where Third Eye Foundation focused on the oppressive atmosphere, Slepcy go straight for the gullet. The broken beats pile up on each other, overwhelming you in a flood of drums. For me, Slepcy are the threat of Gabber made flesh, merging speedfreak rhythms with dense layers of processed noise. And that’s a beautiful thing.

Ambush Records: • Slepcy:

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Phantasmagoria X: “Reckoning”
    Phantasmagoria X: “Reckoning”

    John DiDonna’s medley of creepy stories and trilling dance returns once more with a tour though all the Central Florida hot spots from Deland to Tampa.

  • Killer Nun
    Killer Nun

    Let Anita Ekberg and director Giulio Berruti introduce you to the nunspolitation genre with Killer Nun.

  • The Tree House
    The Tree House

    One of the most highly regarded works to screen at this year’s Locarno Film Festival was Quý Minh Trương’s The Tree House (Nhà cây), a documentary that dramatically utilizes a science fiction lens to simultaneously examine the cultures of multiple ethnic groups in Vietnam while compelling the audience to question the contemporary importance of visual documentation.

  • Disturbed Furniture
    Disturbed Furniture

    Continuous Pleasures (Arevarc Records). Review by Bob Pomeroy.

  • A Gentleman’s Guide to Love and Murder
    A Gentleman’s Guide to Love and Murder

    Sleeping your way to the top is one thing, but killing your way up there works a just as well.

  • Deathtrap

    A writer hits a dry spell and then murders his wife, all in the name of making a hit.

  • Cabin of Fear
    Cabin of Fear

    Campers freak out when a murderer is on the loose and they have no cell phone reception.

  • Jake La Botz
    Jake La Botz

    They’re Coming For Me (Hi-Style / Free Dirt). Review by Bob Pomeroy.

  • Howlin Rain
    Howlin Rain

    Under The Wheels: Live From The Coasts, Volume 1 (Silver Current Records). Review by Michelle Wilson.

  • The Lilacs
    The Lilacs

    Endure (Pravda). Review by Bob Pomeroy.

From the Archives