Leeds interfacers The Eskimo Twins plug and tune bleeps and bops, an extended build-up laying groundwork into investigating the turncoat in hand through electro and acid oscillations. From respectable and unobjectionable, slowly making depressing discoveries and having an attitude overhaul, dramatics are eked out and surges overcome. Not a bad navigation of atmosphere and crises (without ever defining itself as something epic) that leaves the dancefloor hovering, waiting to see what the next outcome is, before giving the green light to get down.
Justin Robertson gets a little harder on the case of Judas with a frank electro job doer that isn’t put off by rascally synth squirts and a hankering for stripping back into punk funk disco. The traditionally tough tech work of Matt Walsh also plays hard ball with the accused with exploratory space surgery, trance riffs lighting up a breath-holding mission and ordering punters to listen up and listen up good for fear of inferred intergalactic acid rebuke. The Sonic Emporium provides shelter with a chilled take in the other direction, strongly chorded and with a snippy midsection showing it can’t quite let go when otherwise prompting nothing but ambient movement.
For Droid, the Twins build a synth spitting, chord squeaking, circuit board licking upstart who becomes headstrong enough to want to break free from those that created it. The mix from the Twins’ Wax:On team-mate Ado is a pure Benassi pulling of the chainsaw cord, tying intestines into an electro super-knot and displaying glorious abuse of sociable sound levels, and more rumblings from within the hungriest of electro guts emanating via Dutchman Max ‘RipTidE’ Bedeker now has the robot become the monster the original threatened to become.