The first thing of Ten Times Ten that has intrigued me was its cover. Designed by Luka Lavrenci, it reminds a lot the distorted-humanoid forms in Arca’s album covers -created by his longtime collaborator Jesse Kanda– and this similarity doesn’t belong just to the surface of its cover.
The album marks the second collaborative project between Alza54 -AKA Aniela Zillinsky, a polish producer- and Glasswayss after BDNF[Brain-derived neurotrophic factor], under Modern Trips label. This time, from the intro -with EQ Why– and throughout the album, the purpose is clear: making deconstructed-club bangers, one after another.
Alza and Glasswayss chose their influences cleverly: as said before, they took from Arca his post-industrial, abrasive sound, mixing it with more traditional juke and ghettotech grooves.
At the same time, the project is filled with grime and trap 808s, including some voice samples: the intro to the project, called “Migodeleuze”(lol), a minimalistic pattern of drums with a sample of Takeoff’s “Last Memory,” and the ST67 remix of “Full Wass” are probably the most entertaining moments in the whole album.
“Modern Trips Manifesto” is instead the rave-y-est moment in the project, “Gene Expression 40.000” and “Tare, Ounce, Gram, Pound, Kilo, Tare (0.001g Accuracy)” mixed a well-crafted trap beat with some ethereal synths and industrial interludes. The project ends with “A. Lange & Söhne Riddim”, a dreamy outro that has nothing to do with the other fast-paced tracks.
In many ways, Ten Times Ten has several similarities to the new TNGHT’s EP, demonstrating the new road that trap music and electronic, together, have taken in the last few years.