LR EP

Repress (2016): Black vinyl in brown cardboard discobag. Hand-stamped and -numbered.

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"A masterpiece!" (de:bug magazine)

"Though I suppose that the Japanese duo Steven Porter was not behind the four previous anonymous releases on Weevil Neighbourhood, their music fits very well with what this Berlin label has released so far. Pressed onto red vinyl in a hand-numbered edition of 300 copies [disclaimer: description refers to first edition of the release, not the repress!] are three tracks mixing background noise, gritty drones and, at times, a driving but modest dub techno beat. The result is quite mesmerizing, a lot deeper and more interesting that what you would expect by only reading this description, and confirms Weevil's acute hear for this kind of sound." (Nicolas Chevreux/ Ad Noiseam)

"Sterling Techno abstractions from Japanese duo Katsunori Sawa and Yuji Kondo for the enigmatic Weevil Neighbourhood. Judging from this debut single, we'd triangulate their sound somewhere between older Chain Reaction and Berlin Techno experiments but with a more squashed sense of pressure. The A-side is a bruised and oddly syncopated Dub-Techno groove at 116bpm, where swollen subs buoy creepy, creaking atmospheric space in churning, aqua-tech roll. Flipside is a grand and visceral piece of tempered digital noise a la Pan Sonic, plus a drowned and offbeat slab of sludgy, atmospheric suffocation, in the best possible sense, recalling recent Andy Stott moves." (boomkat)

"(...). Finally we have one Steven Porter, of whom I never heard. He has three untitled pieces here, of which the first one is all about digital drone distortion that comes like a violent cascading wave. It's quite loud and menacing despite the occasional drop down in sound. An odd piece. In total contrast, the second piece, still on side A, sees Porter going for an ultra minimal beat, with some minimal synth backing. With the rhythm you could think Pan Sonic/Goem, but you're not likely to find that kind of sweetened synth in their music. A curious mixture of a minimal beat back drop and cheesy synth. Another oddity. The third and final piece we find on the other side, and this is where the minimal rhythm meets up with a more Pan Sonic/Goem like synth playing - sturdy, loud and a bit noisy. That's how we like them best. Twice odd, once really good." (Frans de Waard/ Vital Weekly)