Vermin Street is a music/art/media label rising from the underground experimental electronica community in Boston. Created in 2008, Vermin Street aims to put a public spotlight on the diverse and impressive talents of its artists and community, and foster an environment that encourages experimentation and evolution of music, art, media and events. Vermin Street is heavily influenced by the (local and national) DIY art community of burning man. Vermin Street thanks it’s friends and family: Circle, Boston Burners, Rrt, Smgu, Glitchcrew, Mashit and Dev/Null, and especially Jeff Mission, Mochipet and Bakir.
1) to provide electronic music, art and video which moves the electronic community forward.
2) to create a resource for digital and electronic artists.
3) to connect the boston d.i.y. art community with those seeking services it can provide.
4) to achieve the above goals with as minimal impact on the environment as possible.
The first seven Vermin Street releases are all two songs double A side digital downloads and are filed into series. We have Breaks Series, Dub Series, and IDM Series.
Here’s some details:
1) Breaks Series has only one release at the moment and has Phonemonkey (“Eaumaeus’ hut” is a tune based on break rhythms and sounds with distorted bass line and a catchy mystery like main melody) and PeterPassive (“Memory cards are great friends” is a retro electro tune with breakbeat rhythms) on it.
2) Dub Series is the most crowed one as it has four releases at its active. The first has DJ C (his “Acid bounce” sounds just like its title, acid and upbeat. If you ever worked with Propellerhead’s Rebirth software or old Roland TR606/909 gears, you can have an idea of the sound) and Trigga (“Stormtime” is an interesting suspended in time hypnotic breakbeat tune with bleeping synth melodies that run freely). With Ecanti’s “Mob boss killa” the second volume of the Dub Series really gets into dub with a good tune with dub bass lines and break core/2 step drums and it gets darker with Vapah’s “Cord”. A tune with industrial approach to sound but with dubstep rhythms. Tremourz’s “A murder” opens the third volume with orchestral arrangements, grime bass lines and filmic vocal samples. On the other virtual side we have “Dub witness” by Serial Krusher, a track that sounds always cinematic but that is more atmospheric and dilated. The fourth volume has Bakir’s “4 car garage” (an upbeat mid tempo instrumental with distorted bass line and dub atmosphere) and another tune by Encanti (“Dubfish” is a particular instrumental that sounds with exotic Creole melodies).
3) IDM series opens with “Asphodel” by Aliens At Home, a tune that could be also filed as dub as there’s only the fragmented bass line that can make me think of an IDM approach to sound. The other track is by Paranoid Zen who with “1-800-Ohm-Shiva” bring to the attention of the audience a psychedelic ode to Shiva that at the fifth minute sees the use of glitch inserts that could be seen as the noise counterpart to the ambiance created before. BPitch’s artist Mochipet opens the second volume of the IDM series with “Breaktronic Banshee ballet” a tune with a crazy rhythm section, haunted vocal samples and a subtle melody which lead you like a spirit. NoraJean, instead, with “Namdroling” mix reversed semi ambient sounds and hip hop drum rhythms.
All the tracks are available through Additech, iTunes, juno.co.uk, digital-tunes.net and Amazon.
[article by Maurizio Pustianaz]