Call Super – Black Octagons Review (HTH013)

call superFabric continues to cement itself in the underground vernacular; the success of the club combined with the seminal fabriclive mix series and now the Houndstooth record label have led to international renown. Since the start of the year, the label seems to have focused not just on quality but also quantity. ‘Black Octagons’ is their 13th release and it joins an impressive back catalog featuring releases from the likes of Akkord and Paul Woolford’s in-demand Special Request alias.

This is the second release on the label from Call Super, AKA JR Seaton, following ‘The Present Tense’ which launched the label. ‘Informer’ kicks things off with a solid 4×4 kick which is eventually accompanied with a simple set of chords. From this point, however, the track becomes ever more experimental and off-kilter. The bass gurgles up and the drums crackle away with eerie SFX throughout. Whilst definitely a dance floor track, it’s on the darker side of things, a heavily distorted clap gives the track a slight groove about 4 minutes in but this is pure, dark techno.

‘Dewsbury Severance’ keeps things dark with droning bass and static layered over dampened, thudding kicks. The track works itself out over this pulsing background through a series of samples and synths. Throughout, percussion bubbles up to the surface and stabs forward in the mix only to be rapidly removed. A producers masterclass that presents something new with every listen.

The title track is, unsurprisingly, the jewel in the crown of this EP. Seaton works crashing drums over heavenly pads with occasional piercing snare rolls. The track crunchingly breaks down at around 3 minutes to then rebuild itself and power through to it’s glorious Chicago house conclusion.

Whilst not treading any new ground, this EP is a culmination of many different strands of electronic music expertly warped together by a producer on top of his game.

Pick up the EP here:

Be sure to check out Call Super on Facebook:

and on Soundcloud:


Written by Andy Brennan


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