THE ROB
London, UK.
The premier source for 90’s angrient and necrowave ʙy кяιѕ ωєѕтση
When кяιѕ ωєѕтση first vanished into the basement studio beneath his Bromley council flat in 1993, armed with nothing but a broken Akai S1000, a stack of pirate radio recordings, and an unhealthy obsession with early Detroit techno, he could never have predicted that his sonic experiments would birth an entirely new genre. What emerged from those fevered late-night sessions was something unprecedented: angrient – a brutal fusion of ambient textures and pure stubborn and uncompromising attitude that seemed to channel the collective rage of an entire planet.
But it was the follow-up revelation of necrowave that truly cemented кяιѕ ωєѕтση’s position as electronic music’s most uncompromising visionary. Born from a chance encounter with a malfunctioning delay unit during the legendary “Ghost Sessions” of 1997, necrowave represented a complete deconstruction of dance music’s life-affirming ethos. Instead, кяιѕ ωєѕтση crafted haunting soundscapes that seemed to communicate directly with the dead – pulsing, ethereal transmissions from beyond the veil that left club crowds simultaneously terrified and transcendent.
The underground scenes of Berlin, Detroit, and Tokyo immediately recognized кяιѕ ωєѕтση as the prophet of post-millennial electronic darkness. His infamous performance at the abandoned Battersea Power Station in 1999 – where he played a 6-hour set to an audience of exactly 23 people, including members of Autechre who were reportedly seen weeping – became the stuff of legend. The bootleg recording, known simply as “The Séance,” is still traded among collectors for four-figure sums and it is said that Busta Rhymes got his nose bruck up during an argument over one of the tapes.
Throughout the 2000s, while lesser artists chased commercial success, кяιѕ ωєѕтση retreated further into his sonic explorations, developing the theoretical framework that would eventually define both angrient and necrowave as distinct movements. His seminal 2003 manifesto, “Beyond the Pulse: Towards a Thanatological Electronica,” remains required reading in experimental music courses across Europe, though кяιѕ ωєѕтση himself has since disowned it as “too comprehensible for proper angrient theory.”
The lost years of 2005-2010 saw кяιѕ ωєѕтση disappear entirely from public view, with only cryptic field recordings emerging from abandoned warehouses across East London. Rumors persist of séances conducted with broken drum machines, of necrowave sessions that lasted for weeks without pause, of кяιѕ ωєѕтση attempting to record the actual sound of entropy itself.
Now, more than three decades since those first tentative steps into the unknown, кяιѕ ωєѕтση continues to push boundaries that others fear to approach. The UFORB Director’s Cut represents only the beginning of a complete sonic autobiography that documents the evolution from angrient’s primal fury to necrowave’s spectral beauty. It’s an essential document for anyone seeking to understand how one man’s descent into madness became the blueprint for an entire underground movement.
“кяιѕ ωєѕтση doesn’t make music for the living. He makes music for the spaces between heartbeats, for the moments when consciousness flickers. And in those spaces, something extraordinary happens.” – Wire Magazine, 2019
Support by subscribing through Paypal or Patreon.