Tri Angle (2015)
Continuing my recent theme of instrumental Grime producers, I bring you Rabit. But don’t be quick to judge this as more of the same because Rabit (also known as Eric Burton) is different. How? Well, he’s from Texas rather than the UK for one. And in a genre that traditionally ejaculates hyper-masculinity Rabit is openly gay. All this ‘otherness’ had me intrigued.
Communion is an unrelenting and aggressive listen compared to other ‘grime’ records covered on this blog. I use inverted commas because Rabit might rely on genre tropes such as shattered glass, gun-cocks, empty shells hitting the floor, staggered drum bursts and lonely synth melodies but the arrangements are too abstract for the Club and too noisy to play nicely within the sphere of instrumental grime.
Rabit seasons his stew with the likes of Prurient, Throbbing Gristle and Autechre. Perhaps even a hint of Downward Spiral era Nine Inch Nails. Every ambient passage is molested by a face melting barrage of industrial clangour and the occasional human yelp. Nothing is static. Sounds constantly shift and fold in on themselves as if the whole thing is being played in reverse. I can’t help wondering whether this ephemeral, fluid effect is a play on the amorphous nature of sexuality. But, Rabit is quick to highlight in interviews that he doesn’t see the record as a political one.
There are lulling moments amongst the intensity such as the plastic cello on Advent, the two-step cheese of Glass Harp Interlude and the mangled icicles that decorate Fetal. But on the whole Rabit is uninterested in anything pretty.
Communion is a thrilling listen. It’s harsh, unnerving and exciting. A fine example of the electronic/dance scene impregnating itself with noise and experimentation, to birth a new beast entirely.