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This is what test tube said about this release
«Here's another one hailing from the United Kingdom. Jon Weinel is a native british musician and brings us this collection of tracks called 'Hyper Riot'. Jon reclaims his work to be mostly influenced by flashcore and breakcore, whatever the hell that is, but judging from his myspace there are a lot of stuff to be accounted for as well. It's not unusual to see Venetian Snares there on the list because that was one the few names that came to mind when I first listened to some of this tracks. There are a lot of threads to pick here, and they all connect to one another. There are references to Dubstep too, perhaps not on all of the tracks but I found some of the key elements both in the 'fast' tracks and in the 'slow' tracks. Speaking of which, the 'fast' tracks, the hardcore ones, are of course the shorter ones but they carry a lot of references inside them and sometimes they sound like two or three different pieces put together as they change tempo from start to end several times. 'Pacman's Psychedelic Meltdown' sounds exactly as it's called: a video-game soundtrack gone bad, too much bpm's resulting in the CPU's meltdown. A classic.
Halfway into the release and we get first contact with the ambient tracks, kind of like one of Jon's regular tracks stretched to its limits and spanned into five times the regular lenght. Slowed down hardcore for you experimental music lovers. 'At The Drive In Play Their Video-Games' is another electro pop classic, ready for the dancefloor. If you're into 8bit electro/techno and experimental psychedelic soundtracks, you'll love The Turtle and his 'Hyper Riot' release.» - Pedro Leitão
This is what people before you wrote about this release
Marc Weidenbaum, 11/2/2007
The netlabel album Western Spaghetti by Long Desert Cowboy (aka Portugal-based Daniel Catarino) opens with a slow fumbling of earthly rumble before backtracking to something more spare, intimate — less “western,” perhaps, than “horror-show”: all jangly noise in a closed space, footsteps nearby and church-like bells in the distance. That piece, the album’s longest, extends through 10-plus minutes and at least two more set pieces, before closing on conciliatory tones that take a last minute turn toward tension, a coda that brings the horror back to the surface. The album’s four other tracks explore likewise filmic soundscapes that feel ascetic and forlorn. The other main keeper is the closing entry, the most uplifting here despite its title (”Tired of Being Fucking Poor and Honest”); it loops bells even more realistic than those in “For the Money,” for a dreamy, enticing montage (...).
     
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