Excepter

With degenerate drones dripping from their 808s, drum machines, and effects boxes, Excepter is dance music for noise nerds. But for the rest of us, the group hews far closer to Throbbing Gristle than anything you'll find in a club, at least this side of Armageddon. Excepter's most recent releases,...

By Andy Beta

September 1, 2005

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With degenerate drones dripping from their 808s, drum machines, and effects boxes, Excepter is dance music for noise nerds. But for the rest of us, the group hews far closer to Throbbing Gristle than anything you'll find in a club, at least this side of Armageddon. Excepter's most recent releases, Throne and Self Destruction, drift languorously in slightly different directions. Throne emerges amid a haze of phantasmic moans and tingling synths mingling with wind chimes, kalimba, and a painful morning-after throb. A lethargic drumbeat barely nudges "Jrone (Two)" forward at a pace better suited for cough-syrup delirium than dance-floor euphoria. Viscous and darkly ambient as Throne is, its fog finally lifts like a drape on "(The Ass)" to reveal the sound of birds chirping in the daylight. Self Destruction has slightly more propulsion at its core. The ten-minute "Bad Vibrations" rumbles with analog indigestion, excreting the aural offal of half-eaten drumbeats and fried presets. The male-female throats croak and mewl against a backdrop of skeletal synth squiggles and bare snare samples, each hit spaced further apart till there's little to tether the tracks to the 4/4 floor. "Interplay" brings the biggest beat, but for the most part Self Destruction is true acid house, accentuating its corrosive and psychoactive properties.

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