Name: Mr. Tophat / Adam Strömstedt - Highvalley / Feel
Brand: Junk Yard Connections
SKU: 1137840v1
Price: 19.99 EUR
Availability: InStock

Tin Man

Dripping Acid 2

12" | 2017 | EU | Original (Global A)

12,99 €*

Incl. VAT plus Shipping Costs

Release: 2017 / EU – Original

Genre: Electronic & Dance

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Dripping Acid is a series of separate 12"s exploring themes of melodic liquid acid. Part 2 of 6 limited releases by the Tin Man!! -- For Tin Man, acid endures. Like the lapping of a sizzling ocean on the shores of a distant planet, the peaks and troughs of expansive 303 basslines have been a constant in the music of the producer born Johannes Auvinen. He dedicated his mid-2000s early period to the sound, and even as his productions have expanded in scope and style - from the vocaltinged techno of Cool Wave, Wasteland and Perfume, to the intricate, classical-leaning compositions of Vienna Blue - he has returned often to Roland's indelible bass synthesizer. His plaintive, searing melodies have anchored Absurd Recordings' venerable Acid Test series since its first release, and they've punched through the mix in the club music of recent collaborations with Gunnar Haslam (Romans), with Cassegrain, and also with John Tejada. So it wouldn't be accurate to call Tin Man's latest project, Dripping Acid, a rededication. Yet his most ambitious project to date - six 12"s comprised only of new acid compositions - embraces the style as wholeheartedly as he ever has. While the brittle machine-music of '80s Chicago is the blueprint of any acid track, Dripping Acid refrains from revivalism, instead looking forward and inward as it harnesses the 303's psychedelic potential through sumptuous production and adventurous composition. Though it's focused on a single style, Dripping Acid is tremendously diverse, expanding upon the evocative physicality of its track titles ("Evaporated Acid," "Drenched Acid," "Oozing Acid") to rend dancefloors of all shapes and sizes. Tin Man's acid can be exuberant and coy, bleak and technicolor, maximalist and impressionistic, even completely unrecognizable as acid - but as Auvinen stretches the sound to the point of snapping, he shows there's still bend in a decades-old template, and plenty more alien waves to ride.

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