Providence, RI's (recently relocated from Nashville, TN) Container returns with another slab of alternate universe bent techno. Schofield's take on that over-used genre is not only unique but utterly compelling, forming a modern and exciting new sound. While the classic Container sound is still in tact, this album offers a look into a previously closed door in the Container sound world. LP, like its predecessor LP, is recorded in mono and it cuts right down the middle of your skull, and doesn't float around in an imaginary room. These new tracks are immediate and heavy. Kicking off the delayed trip of "Dripping," a rhythmic bone akin to a rusty swing in a ghetto playground, morphs seamlessly into the complex maze that is "Paralyzed." Closing the side is a real stomper/head-cleaner of a track, the mighty "Acclimator." Side B opens with "Perforate," a bass line straight from Mute-era D.A.F., which mutates into an elastic acid line, building into a full rhythm 'n' noise spectacle. The disc closes proper with the mad rush for the bar that is the epic "Refract." LP is a rough and raw ride, adding very much-needed gristle to the pale faces of the stagnant minimal scene. Recorded Labor Day Weekend 2012, in Providence, RI.
Container's Ren Schofield makes techno, but he doesn't make techno like Carl Craig, Richie Hawtin, or Marcel Dettman. Instead, he's one of a growing number of noise and experimental artists to discover that loud, hirsute, pulsing beats are a potent way to disorient listeners. Those beats, mix with a noisenik's abandon, can unearth sound-worlds trad-y producers miss. For instance, Dripping , the opening track on LP, Container's second full-length for Cleveland's Spectrum Spools and the second of his LP's titled LP, features an obscene, high-pitch frequency that sounds a lot like a bird's chirp. Carl Craig never disturbs my dog. --Pitchfork
Schofield s take on minimal techno is grimier than ever, as looser structures give these songs a bit more breathing space, and a vintage Euro electro-punk vibe pops up now and again. Overall, though, the songs often play out like some fu**ed version of Homework-era Daft Punk or, better yet, like Thomas Bangalter s ultra-dark Irréversible score, retro leanings and all. --Ffwd Weekly
...raises the stakes, making every sound harder and more harrowing, at times evoking the implacable low-end numbness of D.A.F. --Chicago Reader