Meek Tiger is Daniel Lippard, guitar wizard of the Luton based improv, sci-fi-no-rave-jazz-bullshit band Horselover Fat. Daniel's other alias include Dj Engram and "Dan". Meek Tiger (the origin of the name is a story for some future date) sounds like disaster movies, opaque and dimly lit hollow caverns, the noises made by heavy objects impacting against brittle ones (and vice versa) – imagine, if you will, that all geologic sedimentation observable in the world today was actually a product of the US government performing a seance, resurrecting Alberto Giacometti in 1987 and getting him to paint all the patterns in by hand – then claiming they had always been there, and proceeding to use this as an argument for creationism.

'SyNkr07iK N3kr0N124t10n' is the name given by Meek Tiger to the tenuous state of affairs we live in today: war and oppression, though by no means unchecked, continue to suspend us in fear of apocalypse. The title splits the difference between synchronic necrotization and necrotic synchronisation: the timed and simultaneous death of all life, or a snapshot of the death of one organism. (However, we welcome misreadings using other words, such as syncretic, synthetic, and Necronomicon.)

The record’s liner notes pitch its themes in the context of a kaij eiga story, where man and nature are viewed as two forces of equally ambivalent moral value. The mysterious Dr. Imanishi’s biological and technological experiments can be taken as metaphors for the backroom tinkering with ideology that constitutes modern politics. Imanishi’s love/hate relationship with the Godzilla legend is a study in the creation of an imagined, external enemy.

SyNkr07iK N3kr0N124t10n attempts to convey the scope for bass-driven music, set as it is against a necrotic backdrop of halfstep and techstep, and is meant to encourage the individual to think about his or her engagement or disengagement with the world. Meek Tiger explores dub soundscapes in search of a sense of self, joining the front lines of the sonic conflict that is the current fragmented state of community dance music. Experimentations with what constitutes melody are at the heart of the album. Multiple sound sources — guitars, keyboard, sampling and accidents of MIDI programming — jostle against each other, struggling for their voices to be heard in the mix.

It is the first of many future releases on the VSTM records label, and quite possibly the best record this year.