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The long-awaited debut from one of Bristol’s most notorious underground secrets. Utter grit and dancefloor destruction on these, cut loud and heavy with an Ossia remix, on a 12″, presented in a similarly spartan visual aesthetic, Studio Tape-Echo at the controls. “It’s been almost a year since we kicked off the Mechanical Reproductions project with the debut release from Via Maris. It’s been a little while in the making but for the second record we turn once again to the Bristol underground and another debut… After causing all kinds of mayhem in the dankest club and performance spaces Bristol has to offer, the duo comprised of Max Kelan Pearce and Gordon Apps, better known as Bad Tracking, offer up their debut release on Mechanical Reproductions. Operating somewhere between studio productions and live performances, the pair have been terrorising venues with their shows for some time now – this, their debut release captures the spirit of their performances without losing anything in translation to vinyl. Both XP-3 & its counterpart, XP-1, are drenched in tape hiss, heavy with industrial grade drums and idiosyncratic percussion. Not relying on formulas or tried and tested arrangements, both tracks explore the space between studio productions and live performance – flailing trails of snarling synthesis, sustained delays enveloped in ferric haze, unexpected bleeding in of machine noise, start and stop button punches puncturing the mix, their working processes exposed and having a very deliberate effect on the end result – Drawing lines from the cutup tape works of Burroughs, the performances work of Throbbing Gristle through to the Birmingham school of techno and Virus era neurofunk. Blackest Ever Black / Young Echo’s very own Ossia provides his take on XP-1 for the last track – reforming the original through a web of delays, rattling faders and redlining channels – the very outreaches of dubwise production techniques being explored to their fullest and bleeding into the unexplored realm of industrial grime. Mastered and cut by Lewis at Stardelta.