Four SNTS tracks mixed by Paula Temple, 999999999, Klangkuenstler, and Tommy Four Seven are utter destruction delivered by some of the best hard techno producers who have ever lived. Finalize your will and prepare to have your face melt.
When a remix EP drops that features Paula Temple and Tommy Four Seven, you know it is going to be as utterly devastating as a weapon’s strike. Paula Temple punches you in the first instant upon pressing play and doesn’t apologize for it. In fact, you’re more inclined to thank her. She’s titled it the Descent Into Madness mix, and that’s basically what it feels like, though it’s almost a crime to listen to a track like this on home speakers and not on a club system, where the track might be capable of dislocating several joints and potentially resurfacing your epidermis. The kick slices through torrents of LFO-driven white noise like a scythe, laying waste to everything in its path. Ominous risers of haunted howling seal your fate, leaving you stranded in a supercell of sound from which there is no escape.
The 999999999 remix of An Era of Absurdity is deliriously fast, the kick cleverly modified on every fourth strike in the introduction before a high-speed rave alarm swoops in and lays waste to the surroundings. Of course, it’s a 9×9 production, so naturally there is a line of maniac acid, which is almost too furious to be interpreted consciously. It’s like having a fever in a thunderstorm while on a high dose of military-grade amphetamine.
The Ego Death cut from Klangkuenstler growls and sputters in its time like a mechanical beast posturing for total war, firing off pink noise hats and riders that pass undetected through the deluge as though they are black-clad agents conducting espionage. It becomes something utterly diabolical as the chugging, distorted baseline achieves frenzy. A guitar riff in the middle worthy of the backbone of a Motorhead cut fills this remix with an unexpectedly angsty finish.
An absolutely filthy rhythm delivered by Tommy Four Seven is a miracle of techno production. It’s an experience of violence by borderline breakbeat, with the syncopated chase of the kick and disembodied rumble of the kick somehow separated and displaced, slapping you around when you least expect it. The low end rumbles with a sensation of intense overload, like gale force winds pressing against a telephone receiver, overwhelming a conversation, or else the tectonic frequency of booster rockets splitting atoms of air as a Cold War era shuttle struggles to break the sound barrier. The original SNTS release may have been brutal, but the remix EP is lethal.
-Winston Mann
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