Vex'd
Degenerate

Honestly, it wouldn't surprise me at all if the annual/chronological bovine branding imprinted in the pointed-sound work in question read A.D. 2010 (or thereabouts), as it seems both future-projected today and outside contemporary music considerations.

Simply one of the most solidly dance/electro-dub/spectacular and progressive works I've come across in my now irreparably-audio-damaged ear/pavilion formations over recent annual-chronological periods. Vex’d is nothing more than the consonant, brief acronym behind which hides an unknown, sparse entity (from what their sound-delights suggest, with a good likelihood of pseudo-alien make-up/nature) composed of two humanoid-youngsters with an operational/logistical base in the vibrant suburban-London. A danceable degenerative music sound-substance difficult/ly both intra/seen and intra/heard of such reckless intrigue: post-techno/drum’n’bass/glitch/pretty much-everything-that's-been-felt-in-the-electronic-field-so-far; a brash, futuristic, and simultaneously stimulating sandpaper sound melting pot of an impudently and thoroughly excellent nature.

Mister Mu_ziq Mike Paradinas (Master of the bubbling Planet Mu) sponsors the multi-bubbling Vessatorious project; a dazzling, hyper-kinetic sound mix absolutely and marvelously exhausting yet fascinating: fragmented and numbing sound particles, often tenderly explosive as the result of the best (I emphasize, best) summarizing/concentrative neo-technotronic European sound aesthetics: a chilling yet harsh and usable digital-hell capable of lighting up the most 360-degree dancefloors, where the positive sonic expressions of much of the recent audio-progressive scene of today merge and blend with near absolute perfectionem.

The double-digital-support sound-degeneration of ours consists and materializes in a total  of one hundred highly caustic and multifaceted but fragmented frames, made up mostly of thundering multi-rhythmic carpets composed of abundant ultra-sub-bass-thickened layers, industrial/sharp reiterations, broken bio-rhythms, with rare yet imperceptible, proclaiming post-nuclear digital vocals: the initial shard “Pop pop vip” (deliberately) quite deceives with its space-invaders/analog-like prologue fragments, a sort of post-Prodigious (of the good old days, of course) belligerent rhythm-machine which gradually transforms into a marvelous, concrete, and successful dubstep exercise.
The genuine rhythmic-percussive explosions of (if I may) post-pankowian origin pervading “Smart Bomb” make the miserable and wrinkled mono-neuron leap with light-hearted joy. The overwhelming sound-vitality contained in “Canyon” would resurrect even a dusty-past from the Assyro-Babylonian times, instigator as it is of unexpected backache/dance urges or likewise the sibilant and mighty “Gunman” which literally expands and explodes inside the (space-shattering as it's almost empty) cranial box thanks to the overwhelming layer of shattering digital/percussive stratifications.

The most appreciable peculiarity of the robust Vex’d-double-essentiality, is that it doesn't subsist nor is confined within a single easily-defined neo-acoustic body: the impressive variety and effectiveness of massively laid-out electronic-solutions force (whether one wants it or not) to consider the non-degenerate record (by the way dating back to the second half of last year) as one of the most intriguing larger/achievements {in this sense I'd cite for exhaustive completeness, the phenomenal latest Boxcutter} and simultaneously effective listened to in the present contemporary framework over the last (let's say) twelve thousand years (before that I wouldn't know).

For the next post-holiday/summer period, the busy and sound-progressive duo plans the concrete realization of a further and sharp (hopefully) overwhelming new work.. in the meantime, a brief visit to this post-Newromantic (electro)London, were I you, I'd allow myself.

Not recommended for those suffering from rheumatism (quite the contrary).