Sydney based, Jensen Interceptor and Assembler Code bring 4 acidic gems to German label, Boys Noize

Artist: Jensen Interceptor & Assembler Code
Title: 6th Element
Label: Boys Noize
Cat No: BNR172
Release Date: Out Now!
Genre: Techno

It appears as if our regular transmission has been interrupted as a light vale of rising, white noise greet us at the beginning of title track, ‘6th Element’. A fuzzy, filtered kick pokes at you with growing intensity while a droning synth emerges from the static. The kick slams down in fat fashion, and we’re on our way. The drive of the percussions holds that same droning synth as it curves up and down, providing a lovely sense of power and purpose. The drums are fantastic. You know they’re there but it’ s really when the track breaks at around the halfway point the percussions relishes its chance to shine. A brilliant tribal jam ensues before that smooth, fuzzy synth hook swoops back in a soothes thing down a mite… until those drums return. Solid start!

‘2231’ is next and we’re met by a sinister, dark bassline and sudden, sharp claps, which is carried off quickly by a fat kick, and a wash of steadily developing percussion. Felling like very direct techno initially, the bassline leaps suddenly and locks into the foreground as the track begins to take form. These swirling hats with a dash of flange are brilliant giving the piece an extra bit of swing over the fairly direct baseline. It’s the kind of romping, acidic electro beast that labels like Boys Noize and Zone pay there rent with, classic sound. No wonder these kids are getting attention from the likes of Dave Clarke. Trippy samples lead up to the break and it’s all business from here. This is a weapon!

On the flip kicking off with, ‘FM Expander’ and we’re met with a broken kick that feels like it’s trying to avoid stepping in something gross. Sick stabs of percussion start to take their place as the piece takes an almost industrial feel. I feel like if Surgeon made electro it’d go somewhat like this? The boys draw out the tension for a while… then out of nowhere, the percussion slides down a gear making way for some kinda twilight zone melody that’s suddenly swirling around you. Like a light shower of electronic light, being steadily pierced by the percussion which is now naturally shaping up again, rejoining in the proceedings.

Last track ‘Runner’ and it’s those rolling, Moog style synth sounds again, funking away and feeling like some kinda over excited lava lamp. It’ not long before a fat kick drops and we’re on our way again. Although the percussion seems to have a bit more housier flavors. Jacking hats and a swooning vocal work between a bleeping synth line begins flickering above you. A slight break in the clouds calm things down a touch, while that fat kick is still pounding away under a light touch of semi-broken beats; that swoony vocal finds its own space in the break, with the still bleeping synth flashing and flickering leading us along like a digital lighthouse. Naturally the funky, Moogy, baseline bubbles up and again we’re romping away!

Solid output again from 2 guns on the rise.


About the Author

Growing up in Melbourne Matt’s introduction to electronic music happened during the legendary rave scene erupting in the warehouses of Melbourne’s industrial West. Matt grew up on all the classics, Carl Cox’s 'F.A.C.T', Laurent Garnier’s ‘Laboratoire’ mix, and of course all the Reactivates and early K7 mixes. During the winter of 1995, Derrick May & Stacey Pullen introduced Matt to Detroit techno, and that was that. Soon after Jeff Mills released ‘Live at The Liquid Room’ and Matt already all consuming interest in deejaying and techno exploded. Fast forward 20 plus years and Matt is still obsessed with electronic music, records and deejaying. Now a resident for the flagship Australian techno label, Nightime Drama, Matt has played alongside some of the biggest names in techno including Jeff Mills, Luke Slater, Derrick May, DJ Bone, Dasha Rush, Kangding Ray, and many more.