H-Fusion - Captured Entities
H-Fusion - Captured Entities (Back)


Captured Entities

The Death Of Rave
Release date: 09/24/2021
genre: Techno
Format: LP
1. Entity 01
2. Entity 07
3. Entity 19
4. Entity 12
5. Entity 14
6. Entity 80
7. Entity 05
8. Entity 11
9. Entity 70
10. Entity 10
11. Entity 60
12. Entity 22
H-Fusion - Captured Entities


Captured Entities’ is the debut album of deeply raw house and psycho-jit-jazz by Detroit producer
and DJ, Howard Thomas aka H-Fusion. Spanning the breadth of Howard’s hands-on, tracky style -
from beatless cosmic jazz audities to slamming 170bpm missiles and heart-grabbing house - it’s
arguably one of the most distinctive, dare-to-be-different albums from the 313 in recent memory
The fruit of more than 5 years of communication between Howard and The Death of Rave,
‘Captured Entities’ expands on the ruffneck, asymmetric slant of his killer 2005-2012 productions
for Sound Signature and Fit - as played by everyone from Kyle Hall to Kassem Mosse - across 11
unruly numbers united by an intuitive, jazz-wise approach to his synths and MPC2000. While
his sound may remind of many Detroit greats such as Omar-S, Damon Peterson/8088, and Urban
Tribe/DJ Stingray, Howard can’t help but sound like himself, and his debut album is best defined by
its classically driven yet singular Detroit soul clinamen.
Where too many producers’ lip-service to jazz is betrayed by their gridlocked uniformity,
Howard cuts the f*ck loose in real-time, improvised jams which have made it to the final
tracklist because of their unquantised cantankerousness and frictional quality. Sawn-off blasts
of hardcore warehouse rave give way to sultry, dream-away house jackers and a ruck of diesel-
fuelled bangers that sound like Nate Young doing Jit with DJ Stingray at a Detroit biker bar. When
combined with the curdled gob of beatless, cosmic noise and the cranky swaggering cyberpunk
on the LP’s closing side, ‘Captured Entities’ really comes into its own as a unique expression of
Michigan grit which, by design or chance, effectively splits the difference between Black Noise
and Wolf Eyes.
This kind of instinctively jazz-taught, stylistic and metric versatility is rare in Detroit-
manufactured techno albums beyond, say, the debut Omar-S album ‘Just Ask The Lonely’, or the
eponymous Urban Trib

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