Far Too Loud - Music for Machines Part 2

Fair play to FTL for doing a Simon Says, professing a state of emergency with a familiarly grandiose disaster movie orchestra and then ordering a teeth-chattering bassline to go forth and trample all over it. Far Too Loud’s Oli Cash leaves minions to chew on Funkatech fumes as per usual, blistering into distant orbits with junctions of complex, wild-cornering and relentless synth inverses and helixes. The armoury of super flanges and filters pause briefly before coming harder and more throttle-some on the other side. Dancefloor Destroyer lives up to its billing, enjoying its reducer role as it trades in smithereens and shows there’s always room for tuning and beefing up the Wipeout racer formula.
Bass Association – now there’s a secret society we’d all like to be a part of – unbuckles and lets rip with a gum-bleeder of a move-or-get-thwacked bassline, breeding together jet-packs and barbed wire that will have the weak disintegrating on sight. Going onto larrup for the next five minutes with flames flashing from its exhausts, it then clears the decks of any debris and lets the drums and bass-zipper take matters out on one another. Circled by another arsenal of scientifically modelled synths with complex molecular structures (as well as a load of squeaky sirens and alarms going off), there’s one moment when everything threatens to run out of sync, but in the end Cash has saved the planet from certain doom in impressively zealous fashion on both occasions.