1-2 Weeks
Wuzzelbud FF


Robag Wruhme on external assessment vs. self-conception by: "People always think, I'm that serene and quiet guy, but actually I'm quite a noisemaker." Could be that the majority of the material he put out in recent years, most notably Thora Vukk (PAMPA 002CD/S-LP, 2011), led to the overall impression of Robag being the virtuoso of everything subtle, enigmatic and tenderly melodic. That's far from being a misconception, but it's still just one side of the coin. The other side is embossed with his most current productions, consolidated here on Wuzzelbud FF, a nominal nod to his debut album, Wuzzelbud KK (MKR 001CD/LP, 2005). As there's no such scenario Robag might be running out of stream-of-consciousness turned nonsense titles for his music, this must be a vocabulary intersection linking this music with the early days of his career. Wruhme presents Wuzzelbud FF as the stylistic follow-up to that debut album, showcasing a sound he avers has been neglected for too long. "I wanted to put out some straightforward music for the dancefloor, something for the primetime. Well, for the primetime of my sets, at least." That agenda is written all over most of the present material. "Veddel Bav" the pace early on; don't fall for Wruhme's signature artistry of evoking groove out of micro-sampling while this track is building up, as it'll be bulldozed by a bass-heavy kick and off-beat hi-hat-lashes soon enough. The title track opens the B-side, combining field-recorded patterns, courageous delay-implementation, and a take-no-prisoners mentality when it comes to prepping the ears for its peak, a simple yet effective bassline, a buzzing and twanging percussive overload bind to make what's known as a banger. "Tisma" is a spaced-out jam before "Provol Eto", the cowbell-decorated, synthbass-fueled epitome of heaviness in this set of tunes, that is among the most functional and relentless material Wruhme has ever written. No pause is granted, as "Maiowu" speeds up to utter D'n'B frenzy, a recourse to his mid-1990s rule of denying, almost anarchic approach to production. The final re-introduction of a straight kick opens "Wabb Bodun", another no-frills, engine-room-located stomper, inspirited and strengthened by rhythmic shifts and crisp tweaking alone. An in-the-red powerhouse that calls for an alleviation like the ambient farewell kiss "Ausgang" closes the record, capping an assembly of textures that sets a peaceful conclusion to an energetic and mostly high-revving journey.