1. Murderous Times featuring Fille de la Lune
  2. Red Lights
  3. Black Powder
  4. Slum Clearance

Rising from the seemingly endless basin of talent of London’s post-everything music scene, comes Warsnare, a producer whose novel style has carved out his own niche corner among the ruins of popular culture.  Having produced soundtracks for award-winning short films and AV installations, his sound is impossible to pin down. Warsnare blurs all barriers between the cinematic and the downright dreamlike, with discarded shards of disembodied R&B, Footwork, and Dub.  Like Tricky and Tom Waits before him, Warsnare continues the legacy of amassing overlooked and long forgotten sounds and chops them down to their basic bits.  Scraping metal, backwards strings, and flickering piano melodies are rebuilt as a swirling procession that moves with a jagged flow above a stuttering kick drum and bassline.

Brutalist is an ominous Orwellian orchestration.  Warsnare has created the sounds that simmer beneath the text of A Scanner Darkly – the score for a disintegration into dystopia.  The opener, “Murderous Times”, immediately sets the tone throughout Brutalist.  With the beautiful R&B vocals of Bristol’s Fille de la Lune tentatively wavering above off kilter rhythmic patterns, “Murderous Times” is like a late-1990s vocal house anthem being disemboweled by a swarm of ravenous nanonites.  The fragmentary “Red Lights” sucks the marrow from Funky, Garage, and 8-Bit and flips such familiar sounds into the rattle and hum of an automated factory line.  “Black Powder” explodes like a war cry – complete with chanting vocal chops and frantic drums erupting into a crescendo of lazers. Brutalist concludes with the demanding breakcore-like scatter snares of “Slum Clearance”, marching beneath the gasping falsetto vocal samples.  It’s no surprise that Warsnare has scored award-winning short films and A/V installations – one can almost see the images evoked from his unique sound.  

More on Warsnare

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