Here are 4 more tracks from Miles J Paralysis that expand on the his “folktronic” lore. Building on the genre’s slightly unsettling, occult dabbling, sonic aesthetic, the EP, titled Turf Step, a rural play on the urban, opens with the tribal-tinged techno of Until The End. A torrent of tumbling, filtered and echoed drums that surrounds Mr. Paralysis’ singing with a cavernous clattering. Leading a dark, shamanic, psychedelic trance dance, it’s minimal, but the production’s delay-drenched dynamics mean that everything is frayed and fractured, and that its details are constantly moving, shape-shifting. 

Where Do We Come From? repeatedly asks a similar question over stripped back rattling, and a B-line that pays homage to Nu Groove and Bobby Konder’s Massive Sounds. Bells tolling (for whom?) in its distance. Sinister slithering in its shadows. Cursed Moor has a deep baritone voodoo vocal chant over some slow LFO rumbling. Accompanied by metallic, mutated marimba and kalimba, while summoning the soul-stealing Baron Samedi.* Finally, Snicket Rhythm is a (seriously) leftfield didi-dub stepper. Vacuum-sucking bottom end booming beneath a skanking riff, from what could be treated guitar. The edges of each lick rinsed in reverb, bending minds in the infinite overlap, while spiralling, dervish details, twisting, turning, increasingly acidic, dance into a Middle Eastern / North African mystic. 

Miles J Paralysis’ Turf Step is out now on Crying Outcast. 

*Given Miles’ pagan / Albion  / magick aesthetic, this actually made me think of Hammer’s Cornwall-set 1960s movie, Plague Of The Zombies.