Expansion Union – World Wide Funk [1999; TVT Records, Wax Trax! Records]

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The base mix of the title track opens this single with a quick jump into techno with a jazz gilding, jamming together wandering synth pings with a slick but spartan bass-line, throwing out occasional sampled renderings of the title phrase while upping the beat accompaniment.  Surging under-pumps of mid-range swerve tones build up, drop out, then return at higher pitch and faster concentration, activating the title sample more and more to match, before fading down to a beat and wave exit.

“Playing With Lightning (Scratcher’s Delight mix)” follows, providing a thorough reworking of the original track into pounding bass kicks, replaced bridges, and a transplant of the main scratching passage.  It’s not bad, but outside of the high-pitched bridging ostinato on synth, it’s so different from the original song as to be a bit jarring.  The opening track returns in a remix by Dynamix II to open the B-side, emphasizing the drum machines against an up-and-down synth roll, translating into jittery vocal sample manipulation and pitch-up eruptions, and slipping more completely into straight-on techno, though it retains the off-center touch

Lastly comes “Children of the Earth”, an exclusive track, with a slow-roll bass kick riff complemented by more active (to near-frenzy) high-pitched synth activity, bouncing along on firm beat support until reaching the slide-out finish.  A very strong pack of instrumental electronic work, with a wonderful balance of experimentation and fundamentals.

Bell Witch – Live At Roadburn 2015 [2018; Roadburn Records]

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Recorded before the death of founding drummer Adrian Guerra, this live album captures the two-piece doom metal and Bell Witch in fantastic form, coaxing enormous-sounding caverns of slow-throbbing atmosphere out of their bass-and-drums combo.  Opening with “I Wait”, from their debut album Longing, the band capably demonstrates their way with building up grand walls of sound while following a clear central melody, and with exploring the transitional cool-downs between those slabby passages.

Eating up the rest of the record are two tracks from Bell Witch’s sophomore album, Four Phantoms, which would be the last to feature Guerra.  “Judgement, In Fire: I – Garden (Of Blooming Ash)“ leads the way out of “I Wait”, with
clear and focused melancholy

pulling across bridges and measures of crushed mournfulness, both a breather and an intensification of purpose.

“Suffocation, A Burial: I – Awoken (Breathing Teeth)“

expands the suffocated rumblings of the first track into fuller form, returning to the rough guitar timbre with a more even ratio of sadness and anger, and employing the wordless moans and groans to fine effect in complementing its despairing resonance.  For just three songs, the band communicates some powerful emoting with expansive detailing, the instrumental tracks coming through with distinctive projection and clarity.  An excellent performance, and a strong send-off for half of the original band.