Ah, Encrypted, how I appreciate the path you walk. I truly believe you are amongst the biggest explorers and expanders of dubstep. I implore our readers, whose extremely refined and infinitely exquisite taste in music proves itself, as I’ve come to understand, time and time again, to delve into Encrypted Audio’s library and try to use only just three words to describe their catalogue. It’s impossible. So, what’s the new addition to the ever diverse ENV catalog? He’s known for his belligerent sound and thoughtful graphic design. We’ve interviewed him, he’s done a record with us, now he’s out for more. Enter Mesck.
I’m getting serious 60’s horror flick vibes from Locust March’s opening. We are not granted a lot of time before we are introduced to the star of the show: dynamic percussion seemingly created by a device that I imagine looks like a baton fitted to a spinning wheel, positioned next to rusty abandoned prison bars. Mesck seems very deliberate with his impacts, there’s thoughtful alternation between synth and drum breaks but this is not what necessarily fills the room. Hissing tails, subtle atmospherics and appropriate ‘residue’ make the track whole and emphasise the power of the ‘forefront’. ‘Locust March’ sets an unwelcoming, sinister and oppressive tone and the affinity for the aggressive sound we’ve come to know has not been lost.
I find myself confused at my morals when nabbing myself being excited about a tune named after slang coined in the Vietnam war. In this case, pretension and presentation are in balance. ‘Fugazi’ did to me what its title implies; ambushing me with a stern but subtle drop, which on a scale of Mesckgressiveness floats somewhere between an ‘Undertone‘ and ‘Acid Temple‘. While Mesck usually leaves me being barraged by the rattliest of synths (which are also overtly present here) ‘Fugazi’ features a certain groove-inducing ‘bob’ which gives the track a tiny bit more lightheartedness.
