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2LP
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PRESH 018LP
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Opaque red vinyl. "I dropped JK Flesh 'In Your Pit' on my new label PRESSURE three years ago, and then follow that up with the G36 vs JK Flesh sound clash Disintegration Dubs last year. Justin has consistently handed me pure audio gold, and actually gifted me some of my favorite releases from him full stop, in an incredible career of riches which he has tirelessly produced since Napalm Death til today. So again, I'm now totally psyched to drop Sewer Bait on my label PRESSURE. The sixth album from JK Flesh, this album is a slo-mo, slo-fi, sewer tech journey into utter gutter level filth. Overdriven, corroded, corrupted and absolutely blasted, it contains so many essential elements of clubland low life, but yet manages to remain beautifully original whilst pushing all levels deep into the red until it hurts in the best possible way. Anyone hooked on Andy Stott's dirtiest works, Porter Ricks deepest explorations or Techno Animal's speaker punishing grooves will find addictive nourishment within these relentlessly distorted heavyweight grooves... Not so much hard as completely f-ckin brutal, the master stroke from Justin Broadrick however, is takin his raw materials and feeding them militantly into the dub chamber. This is like a wholesale destruction of techno, 4/4 for people too wasted and strung out to give a f-ck about dancefloors, yet compelling enough and magnetic enough to completely insist upon fully body hypnotism in an undersized room with an oversized rig. The album's title track sounds like Drum & Bass don Digital or the peak of the Metalheadz label dragged down into hell for the ultimate bad rave trip, whilst 'Crawler' could be Killing Joke, jammin with Regis and his aggro allies from Birmingham techno's underappreciated discography, deep in a warehouse warzone. You don't have to dig techno to dig this dirt, you just have to enjoy having your head taken off and your body physically punished. If Jeff Mills output had been chopped, screwed and then painfully, slowly crushed, it may resemble the monolithic, psychedelic, crawl of Sewer Bait." --Kevin Martin
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2x12"
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EDLX 058LP
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Impresario bone grinder, Justin K Broadrick, has prepared a new album for release on Speedy J's Electric Deluxe label as JK Flesh. Broadrick has resolutely inhabited some dark and punishing corners of the musical landscape in his three decades of music production. Whether as a songwriter, guitarist, drummer, label head, studio producer, or electronic alchemist, Broadrick has defined the sublime overlap of misanthropy, noise, and arson-spirited audio. Making his initial marks with grindcore and industrial bands Godflesh and Napalm Death beginning in the late '80s, Broadrick's musical career has arched from blast-beats to head-bobbing hypnosis. With a slew of recent releases from his JK Flesh moniker for Electric Deluxe, Hospital Productions, Downwards, Pi Electronics, and on AnD's Inner Surface, Broadrick has increasingly taken lo-fi cerebral sound exploration into techno's polluted ozone layer; drifting amongst violent collisions of rusty space junk and taking aim at the outmoded species below. JK Flesh's eight-track double-disc album for Electric Deluxe continues his assault on the failings and folly of humanity with a bludgeoning tour of dub influenced techno. A study in resolution, timber, and distortion, the album's tracks are diverse in mood and groove, but are united by the dark, porous, and undulating surface texture of rippling analog treatment. Contemplation of humanity's chances for extinction or evolution provided Broadrick with the mental scaffolding upon which the album's inky and caustic eruptions precipitate. Titles like "Different Species" and "Super Human" on the album's A side betray his interest in futurist's trans-humanist musings, while thumping garage baseline and searing interplanetary emergency sirens anchor the tracks in Broadrick's mastery of noise. The album is generally packed with full-form bass, percussion, and machine sounds. Though tracks like the B side's "External Transmission" juxtapose rubbery and wiry timbers, like the best of acid, over the low-end's boiling black cauldron. "Earlier Forms Of Life" and "Macromolecules" take morose side-long glances at the dancefloor, but primarily develop elegantly grime-filled grooves under the constricting spatial canopies of hyper-detailed delay and reverb. Surface detail and dusty timbers rake the listener's ear across the minimal composition of "The Next Stage". The albums closing track, "Homo Sapiens", drops you into the hopelessly gigantic hull of ship, echoing with sonar, heavy machinery and dulled low-frequencies as your iron tomb cuts across the dead oceans of our planet, or, as Broadrick has spent his musical pursuit, in search of a new one.
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2LP
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HOS 493LP
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First ever vinyl edition of Justin Broadrick's crushing industrial turns as JK Flesh for Hospital Productions, combining the Suicide Estate and Antibiotic Armageddon releases for a greyscale spectrum of brutalist techno, abyssal acid dub, tramadol tribalism, and noxious noise textures that's highly recommended if you're into Regis, Birmingham at night, Kareem... It's an unflinchingly bleak representation of the world described in hard-edged techno and shot through with moments of affective, synthy pathos. In sonic and literal tone, the record forms a stark reflection on Justin K Broadrick Brummie stomping grounds, using demolished tower blocks as cues for some of the album's most affective moments, such as the wrecking ball assault of "Bayley Tower (New Mix)", the rubbled roulage of "Stoneycroft Tower", or the 'marish zumby techno lurch of "Bromford Bridge Estate", and all in a way that surely dovetails with the perceptions of anyone who has lived in a built up British area, or anywhere else with lots of concrete and little sunlight. The other half of the tracks are taken from and titled in reference to Antibiotic Armageddon, the inevitable point when pill-gobbling citizens of the world are no longer protected against old viruses, and new ones. The tone of these cuts is understandably bleak as fuck, too. "Tamiflu" dry-wretches a windswept passage of bummed-out dub techno breaks, where "Squalene (New Mix)" glumly follows suit with the clammy synth malaise of "Ethylene Glycol" and the knee-buckled crawler "Thimerosal", which sounds like one of his Godflesh tracks in the process of terrifying itself to death. Cut at Dubplates & Mastering, Berlin.
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CD
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HOS 493CD
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Solo rhythmic electronics from Justin Broadrick of Godflesh, aka JK Flesh. Suicide Estate captures the urban legends and hard truths of Birmingham's notorious Bayley Tower. Suicide State makes the case for minimal austerity and maximal crush in productions that are both raw and precise. Propulsive rhythms and saturated sequences build, demolish, and investigate the pavement and skyline in proper industrial heritage. The atmosphere rolls in from nowhere and another ghost is born at Bayley Tower. Originally a cassette on Hospital Productions in 2016, this CD reissue sees a new reworking of "Bayley Tower" that is both functional and brutalist in nature. Eight tracks of cold bass electronics and drum machine from Justin Broadrick. Extreme music forefather Justin Broadrick is unilaterally regarded as one of the pioneers of Britain's late '80s burgeoning collision of punk, grindcore, and electronic movements, his unmatched creation of ethereal metallic atmospheres, stark existential lyrics and crushing dance rhythms credited only as "machine" are what makes his works stand alone, timelessly. Broadrick inimitably weaves industrial aesthetics into corners of music otherwise left untouched. The fearless and constantly innovative world that Broadrick cultivates reaches across musical barrier after barrier, and continues to influence decades of artists has earned him a throne in a genre of his own.
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CD
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3BY3 009CD
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The best thing from Justin Broadrick since Godflesh. Posthuman certainly resembles the darker side of Broadrick's sound (circa Techno Animal, Godflesh and Greymachine) but simultaneously contextualizes this within the unfamiliar turf of the post-dubstep/industrial canon pushed by 3by3, finding a fitting home in the process. The result is an album of soul-crushingly dark beats and bass, layered with Broadrick's inimitable guitar and vocal fuzz, providing a stark contrast to 2010's Palesketcher output, that will resonate with fans of Godflesh and the post-dubstep landscape alike. Recorded in Broadrick's newly-built studio in the secluded countryside of Northern Wales, Posthuman's clear reference to his upbringing in the harsh industrial sprawl of Birmingham would at first seem ironic. However, given his recent collaborations with Techno Animal co-conspirator and long-time collaborator Kevin Martin (The Bug/King Midas Sound), it would seem Broadrick is once again happy to explore his more depraved sonic tendencies. Across nine monolithic slabs of pure carnage, JK Flesh is established as a project in its own right; showcasing a clear but dynamic sound that flows seamlessly from the pumping basslines of "Earthmover," through the cavernous drone of "Underfoot" to the melodic, live musicianship of "Walk Away," all via the balls-out distortion of "Punchdrunk." JK Flesh arrives in 2012 to show how proper dark side pressure is done -- with authenticity and regard.
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