Wrecked Lightship make track that conjures up nice civilizations collapsing—crumbling buildings and ruined grandeur, marble columns disappearing underneath sea-foam. Its imaginative scope is fairly far-off from the track that the duo’s individuals made their names with. Laurie Osborne, best possible referred to as Appleblim, got here up as a DJ on the foundational London dubstep nights FWD>> and DMZ and helmed the Cranium Disco label along Shackleton; during the last decade and a part, he has flitted between space, techno, bass track, and hairsplitting hybrids of all of them, in most cases with no less than one eye at the dancefloor. Adam Winchester additionally has a background in dubstep, underneath the alias Wedge, despite the fact that his newer experimental track—within the duo Dot Product and underneath his personal identify—provides a touch of the place Wrecked Lightship’s world-building dispositions would possibly come from. Winchester’s business soundscaping suggests mainframes at the fritz and nuclear cores in meltdown, dystopian sci-fi fantasies enjoying out on a galactic scale.
Antiposition is the duo’s 3rd album in as a few years. The place 2022’s Drowned Aquariums and 2023’s Oceans and Seas continuously veered into natural abstraction, Antiposition places the percussion first. The improvisatory float of the former data has given strategy to a newfound focal point; the bass and drums sound like they’ve been designed to rise up to the gale-force winds of the duo’s dubwise results. The report’s depth is unexpected partially on account of its context: The label freeing it, Height Oil, is best identified for the wispier, extra amorphous sounds of artists like Purelink and Topdown Dialectic. In comparison to their grainy fantasias, Antiposition is a twister trailing particles in its wake.
Around the album, the duo maintains a cautious stability between membership tendencies and extra psychedelic results. Within the opener “Hex,” syncopated kicks and large Reese bass name again to canonical tropes from the hardcore continuum, whilst flickering bleeps and bursts of white noise fill out the ambience. It’s each tough and enveloping, a full-body blow that looks like an embody. So is “Unusual Servants,” whose thrumming drums—faintly paying homage to Aphex Dual’s vintage Bradley’s Robotic EP—counsel taiko drummers in a wind tunnel. The heartbeat is hard and riding, however a gleaming, tape-warped synth melody provides an positive notice to the temper of grim choice.
