Madrid’s Clash closes out 2020 with a statement of intent on MOODULAB, the imprint he runs from the Spanish capital. Nuevo Orden Mundial—“new world order”—is a five-track EP of industrial pressure made explicitly for the post-pandemic dancefloor, mastered by Mattias Fridell and cut to a 12” edition of just 50 copies via Melting Pot Records. That the run sold out fast feels right: this is music built for rooms people were only just beginning to fill again.
Opening track Overflow lays the template bare. A kick machined to a punishing tolerance locks in beneath layers of clattering metal and distorted texture, and across five minutes and fifty-seven seconds the pressure never once relents, a bassline creeping in like interference rather than decoration. It’s warehouse music in its purest sense—functional, physical and utterly without sentiment.
Alone is the darkest stretch of the record: six minutes and fifty seconds of slow-building claustrophobia in which muted, heavily-reverbed stabs do the work of a melody that never quite arrives. Pills is the most direct of the three originals, a stripped, four-to-the-floor assault whose drilled hats and propulsive bassline leave no room for doubt—all momentum and menace.
The two remixes sharpen the EP’s edges with real intelligence. Russian duo PTU compress Overflow into a leaner three minutes and fifty-six seconds, stripping away some of the metal and pushing the groove into sharper, more functional territory—the sound of a floor finally moving again. Berlin-based Italian D.Carbone, meanwhile, brings decades of industrial craft to bear on Pills, his MDMA remix smearing the original’s edges with a heavier, more hallucinatory low end that extends the track to five minutes and fifty-six.
There’s no subtlety in Nuevo Orden Mundial, and none is intended. Clash’s production is unapologetically harsh but never sloppy—every texture is placed with purpose, and Fridell’s mastering gives the record room to breathe without softening its blows. As a year-end flag-plant for his own imprint, it’s an emphatic one.
