Limit – Limit [Halocline Trance]
An exciting new collaboration between Canadian producer Egyptrixx and L-Vis 1990 (of Nightslugs fame), Limit presents its first release under Egyptrixx’s Halocline Trance imprint.
Lines. Boundaries. Pressure. Transgression. Breaking points. In their eponymously titled EP, Limit can be seen as both a collection of club-oriented tools, as well as a thoroughly probed exploration of a new sonic frontier (for the duo). Limit isn’t particularly groundbreaking, yet it’s successful for its direct and lucid communication, obtrusively raw yet self-aware framework, and its collaboratively resultant material.
The album opens some straight forward industrial beats. The stomping pulse grows in ferocity as the mix builds toward its first drop. The sound is noisey, ever-so-slightly cosmic, and commonly visceral and abrasive. Track two continues with the same great energy, though in a break-beat format, with the addition of zapping ray guns and weighty hat figures.
Limit establish the palette with hard hitting percussion and repetitive chugging rhythms; the timbres and arrangement fall in line with previous Halocline Trance releases, namely Egyptrixx’s Transfer of Energy double 12, which was released back in February. However with the two artists combined, a new kind of tension and energy is created, which comes across immediately in the mix.
Just when the listener may be reaching their limit, the duo put the brakes on to allow a moment of recovery. After two pretty pummelling episodes, track 3 jumps into the fray, a three and a half minute piece of shimmering ambient. Although the timbres are softer, the pair are reluctant to relax the intensity, with full-bodied synth textures that amply fill out the room. Like all the other tracks, it’s perhaps limited in material (definitely not a negative thing), yet maximal in its statement.
The drums are back for track 4. Hard snapping toms and kicks set the pace before a grinding synth loops takes over to drive things forward. This cut of proto industrial techno marches on incessantly, almost to the point of senseless, held together only by its mechanised, authoritarian agenda.
Track 5 provides another intermission. Again, no drums here, but yawning synth cries and effervescent textures keep the intensity high. Moments like these are where Limit perhaps shine their brightest.
Heading into the final phase of the album, track 6 is a continuation of the previous, though a little more agitated, yet also more jubilant. Bubbling ascensions and reeling synth movements. As the track unfolds, the material begins to rupture under the bright light; by the final 30 seconds limits are beginning to be broken, though closing track no.7 is where things really culminate.
More stomping 4×4 to close – the square march of snares and its accompanying industrial bricolage inject a pointed energy into the mix. The track alternates between dense and sparser passages, with a gawping synth loop that dovetails the piece, a concluding message, a statement of purpose.
Limit is not an invitation, it’s a command, and the submission of its listeners an inevitable but highly rewarding endgame for Limit’s affronting sonic manifesto.