Shedbug presents dystopian acid-electro on ‘The Krabben’
Berlin-via-Melbourne producer SHEDBUG has lept headfirst into 2019 with his latest EP THE KRABBEN. With five tracks blending techno, electronica and a hearty dose of acid, Shedbug presents an anxious and brooding dystopia of frantic beats and something to do with crabs.
Shedbug has been honing his craft of minimalistic yet provocative techno since his debut cassette ACCEPTANCE in 2016. He’s since dropped releases on greats like DEEPTRAX, Of Paradise and Lobster Theremin. Having evolved his sound from abstract, dissociative techno to a more bold acid style with 2018’s DESTINATION LOVE, THE KRABBEN continues his upward climb into in-your-face electronic goodness.
Shedbug kicks things off with ‘Annex’, a biting acid tune with a glittery, shifting hook and warped percussion. ‘Eine Frage Für Dich’ (‘A Question For You’) paints an anxious picture with a distorted and melancholy bassline pairing with a more hopeful synth melody and snappy percussion. Things are ramped back up with ‘Sibelle’, with a frantic, glitchy beat driving brooding pads and menacing bass squelches. ‘Crab With A Knife’ pairs things back with a catchy acid riff and blaring, siren-like bass over minimal percussion. Rounding things off, ‘Cries of War’ pairs an ambient, sci-fi-like soundscape with vocal samples and elements of breakbeat.
THE KRABBEN is Shedbug‘s familiar, snug blanket of trippy techno with the all-too-familiar existential dread of today’s climate. It’s still got all the luxurious acid licks and broken beats we’ve come to expect from the young producer, but with a matured, grizzled edge. It’s great to see Shedbug evolving his sound, and his latest effort shows he’s just as good at crabby acid bangers as he is contemplative chill-out techno.
Image via Facebook
Words by MAX LEWIS
ANDY GARVEY GIVES A TASTE OF HER DEBUT EP WITH DREAMY ACID SOUNDSCAPE ‘ETERNAL RECURRENCE’
SKIN ON SKIN GETS DOWN & DIRTY WITH CHICAGO HOUSE ON STEEL CITY DANCE DISCS VOL. 9
NITE FLEIT CRAFTS MENACING, ACIDIC ELECTRO ON ‘BORDERLINE’