The summer of 2011 in the screens of BBC and CNN: combats, clashes and coups, plus collapses in the stock markets. By tonality the EP with pitch-black textures works as a backdrop for depressive times and Blackest Ever Black is a very expected platform for this type of output. I only wonder if global affairs had impact on the production process, when the release is called “In A Syrian Tongue”.
Regis, a close friend of inexhaustible drum machines, enters curfew zone with tense and monotone percussion in “Blood Witness”. A powerful and multi-layered cut that on the flip sees a live version by M.J. Harris and Karl O’Connor (aka Regis), complementing the original drumming with dubs and echoes. Rhythms rule also in “Blinding Horses”, accompanied by dimmed voices and stoner riffs for a tale told by forces shunning the sunlight.
Especially in “Blood Witness”, Regis’s recent involvement in Sandwell District can’t be overheard, but the sounds have been lacquered for a much blacker shine. Much anticipated by techno community, the solo comeback of Regis conveys a clear message: it’s sanus regis, the king’s sound.