You might not have known this, but Denmark's hidden gem Remote Enclosure Audio is not only an intriguingly-named independent record label, but primarily a night club based in Copenhagen. They've established themselves as a home for immersive dub techno, leisurely flowing downtempo and textural ambient works, but this time, we're presented with a captivating, dancefloor-oriented techno debut from Several Intruders - a symbiosis of two young talents that originate from Spain. Opting to go an extra mile but not overcharging for it, they've presented the world their debut release - a six-track EP, which we put under a microscope and analyzed meticulously.

    First thing that we will point out is that Worlds Colliding is an earnest, dramatic effort that is built completely in minor key. It kicks off with A Man From Taured - no holds-barred 132 BPM opener that right away introduces steady 4/4 kick drums supported by additional low-range oscillation, soon joined by three swiftly hissing layers of bands at 16/16, scattered through the channels, dry and open 4/4 hats, syncopated attacks of clanging metal bars, bleeping two-note stabs, and suspenseful background ambiance that doesn't stagnate and by times reaches for higher parts of the spectrum. While City Night Line starts more cautiously, slowly rising in intensity, it doesn't hold back in tempo; its elements include slightly muffled 4/4 kicks, running aside additional layer of quieter drums that create a galloping effect, paper-thick 4/4 and 16/16 bands, splitting and echoing in channels, incessant alarming stabs, craftily-shaped, two layers of differently sounding, shifting bells, and panning, calefacient background noise field. 7-minute piece Nullius In Verba drops off two BPM points, but its energy levels remain high - soon after ruthless 4/4 kicks started sending the shock waves through the lowest of octaves, the higher ranges little-by-little became occupied by distressful, revolving stab loops, short and metallic 16/16 bands, sandy 4/4 hats, and infrequently appearing, droning horizons. Passage Of Time returns to 130 BPM, unleashing measured 4/4 kicks with each second hit being seemingly tripled, two layers of syncopated, panning, resonant bells - the main one having a quality of compressing and expanding its values of sustain, generic, sweeping hats, with additional sets of 4/4s and 16/16s running non-intrusively in the background, leaning to the left every now and then. Sasserides again jettisons two BPMs, making use of driving mid-to-low bass oscillating right above relentless, hefty 4/4 kicks, metallic bands and artificial shakers at 16/16, two sets of open hats, syncopated in a way that the second hit comes before arrival of the second bar (albeit one of the sets doubles in the middle), and an obscure vocal sample, looped and turned into additional element of percussion. Although 126 BPM-paced Rapid Eye Movement is the slowest number of the bunch, it doesn't yield in potency when it comes to electrifying the mind and the body; painstaking 3/4 kicks are at their sharpest, and they could be the reason why the background droning melody sounds so beaten-up and bereft of any joy; but despite its depressive inclinations, show must go on - sandy 16/16 & 4/4 bands together with open 4/4 hats keep running their game, supported by the noise field that rapidly rises and fades, creating another captivating rhythmic structure, and the track doesn't end until the last sound emanations of a phantasmagorical paper engine fade away, spinning, into oblivion.

Release Type: EP

Release Date: 25 December 2016

Release Format: Digital

Record Label ● Catalog: Remote Enclosure Audio ● REA005

Purchase Links: Bandcamp