Witchman

Oft weighed against gloomy breakbeat industrialists Scorn and Techno Pet, the dubbed up drum’n’bass of Witchman has seeing that much in keeping with jungle paranoids Nico and Ed Hurry as well as the gothic techno of Disjecta and Meat Defeat Manifesto. Combining large, space-filling drum sequences — alternately divide- and double-time — with hemorrhoids and hemorrhoids of effects products and daubs of ominous synth areas, Witchman lies someplace close to the intersection of Jamaican dub, early hip-hop, ambient, as well as the darker aspect of bleep techno. The singular task of 1 John Roome, Witchman implemented Roome’s stint as vocalist for Terminal UTILITY COMPANY, an industrial steel music group. A longtime devotee from the Swans and Deceased Can Dance, Roome stumbled onto a single recording career unintentionally, assembling a demonstration on the whim before getting a agreement some months afterwards (his aspirations had been originally in film). In early stages, Roome released even more remix and compilation paths than workout under his very own name (he’s remixed Gary Numan and Nefilim and been included on compilations for Increasing High, Quantity, and Virgin, amongst others). After an instant one for Blue Angel, Roome’s initial EP, “THE FORM of Trend” premiered with the experimental Leaf label in early 1996, and quickly nailed an viewers into jungle’s darker, even more abstract opportunities. After some record-label dilemma (with Blue Angel parent-label Increasing High in economic turmoil), he finally installed with Deviant in 1996 release a the Problem Alley double-EP, implemented in 1997 with the full-length Explorimenting Beats. The Jammin’ Device collaboration Inferno made an appearance in 1998 on Unseen.