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Malfunctioning speakers, & digital dreamscapes, SQUIRRELS ON FILM’s 4th release explores the outer reaches of techno with impolite, reckless abandon. Psychedelic sound explorer Its Own infinite Flower, who was responsible, along with head squirrels Solar & C.l.a.w.s., for San Francisco underground punk rave/happening Hostile Ambient Takeover, unleashes his first official release, The Plumes of Love (ARE BLACK!).

After contributing a track to 2017’s Spacetime Continuum/ Juju & Jordash curated Air Texture V compilation, this four track EP of abstract tech-noise brings the sounds Its Own Infinite Flower refined in the basements & warehouses of the Bay Area’s underground music scene to the wider world, whether it’s ready or not. “Drone, Drugs ’n’ Dissonance” creeps into life as a thunderstorm of white noise, out of which a cold-rave pulse somehow metastasizes into something resembling techno, although this is a deformed, uncivilized, unwanted mutation, separated at birth & raised in a toxic wilderness. It builds slowly before turning up in a rage of digital distortion, a black metal dub party held at the edge of a melting glacier. “Oh, Empire of Roses” is a Dada Phycho Jazz Electro number.

Dissonant synth chords snake around each other in a playful ouroboros of manic future funk, never knowing if it’s starting or stopping, coming or going. Relentless bass throbs through the track, which almost threatens to bubble into classic acid electro before fizzling out. On side two there is “Devotion to a Peacock Angel,” an angular breakdance groove for the characters in the bar scene in Star Wars. Electro dub rhythms keep stay grounded as everything else rips apart in all directions over the course of the track. On “Misfortunes of El Dorado” a soundsystem bangs in the next room, only the deepest bass escaping, shaking reality until it’s torn apart in waves of distortion, a classic techno synth string wandering over the top of everything in a full blown Techno Jazz Odyssey.

San Francisco's wonderfully titled Squirrels On Film return for a white label excursion into altered body music, CPU-driven electro & modular techno vibrations. A varied cast ensures fresh flavours as Material Squirrel kicks us off with "Material World", tipping its head to London Modular Alliance as a custom rig spurts out some fizzy electroid mayhem. Lokier gets on some deep mantel mining as an Earth drilling groove is eeked out of some primitive machinery. Billy Bates' "Got It" should keep the up-all-nite-cru happy with its wild sawtooths and buzzing acid driving the resonance well into the red. Finally, Solar lets the record some to a celestial conclusion as the head-in-the-cosmos deep house of "Anoes" sees us laid to rest on some tryptamine-based planet. Excellent stuff here...

The wonderfully named Squirrels On Film drop their second release to date and it's Kit N C.L.A.W.S - the collaborative project from label co-founder Brian Hock and veteran San Fran producer Kit Clayton - providing the sonic madness. It's a woozy, wobbly trip designed for dancefloors drifting between dimensions. "Urn Of Stilled Sorrows" tumbles with a lysergic murkiness that'll make you feel like you're well on the way to a peak experience. Littered with buzzing grain delays, pitch shift phasers and talking percussion, it's a heady and slightly menacing trip into the void that only the most seasoned adventurers should undertake! "Mariners And Masts" assumes the listener has made the first inter-dimensional leap and proceeds to get all acidic and demonic as we familiarize ourselves with the Other. Finally, "The Skies Themselves" allows the waves of profound recollection, Satori like enlightenment wash over the listener as the final stages of the trip take hold.

Savvy techno heads will recognize Kit Clayton's name from his decades of experience at the avant-garde of electronic music. In the late '90s, he and partners Tang Tran and Juan Mendez (now better known as Silent Servant) launched Cytrax, a groundbreaking minimal techno label that paved the way for the clicks 'n cuts sound of the early aughts. His debut album - Nek Sanalet, first released in 1999 on Stefan Betke's seminal label ~scape and reissued in 2015 - remains one of dub techno's most enduring documents. Meanwhile, Brian Hock moonlights as the drummer for deranged Bay Area post-punk outfit Bronze while recording murky electro-techno excursions as C.L.A.W.S. Together as Kit 'n C.L.A.W.S., Clayton and Hock's sound signatures merge seamlessly. 

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