Showing posts with label Electronic. Show all posts
Showing posts with label Electronic. Show all posts

Saturday, 12 November 2016

DOPPELGANGERS XXIX

  Not long ago, the Scrawler featured a revivalist band, which is a case covered on the previous post. Horror Vacui assert so for the Post-Punk lay of the music 'scape—and competently. When HK8 starts disheveling with their Electonic miscreations, it comes off as ambience tinged efforts to less perplex an all-out Noise seeker. So much for an ironic title. The droning wars par!

Horror Vacui
HK8







Sunday, 2 October 2016

K21 (ANTS)





  A(n un)certain entity looks like Leonard Nimmoy—clutching hyper to its instrument of Electronic perversion. This is undeniably a serious business. Beautifully crafted to befit dance music with coruscating breaks and corresponding hollowness in dimension.

  The man's craft supersedes deification. K21 is an expulse to intelligent dance where his frets and devotions are exhilarating occupations of preceptive drums and perfusions that simulate the effects of—if amid samples—annihilating the organic reach of vocals. The present vocal samples are as alien and fiendish as a morose Klingon—with blood-thirst and war-lust. Rune prevents the music from engraving and etching the auditory preference with inadequately descriptive pounding. The airy ride shuttles from concoction to decantation. Hurtling forth into battle of cymeks.

  As a rhythm of articulation, it freights convening formulations. Preamble openings that play along sotto voce. This is grand and mighty. It is not enough trouble preventing other activities getting in its way. Every sound delicacy  is birthed in a bleeding permeation. Holy shit!—the death march—the storm—the Ajax. Where art thou Industrial freaks. Discretion hath now faced unearthing. Inundated by a linear finish—punish and taper. Inferior ants got no indemnity against the militial—nullify and eschew. This cover art is freaking superb. Close-up and blur. Ajax run the world.

  Confined to a Synthpop furnish is closure Voicesback, and it's not much of a stretch. Parallaxed by echoing overwolds of sounds. An Industrial rafting appraise that whiffs into synth corruscations. Into submission thou shalt descend. No smarmy.

Thursday, 29 September 2016

KnK—DEAD BODY MUSIC

  As an—Industrial—album dedicated to fear, it isn't serendipitous to have Dead Body Music II have such an ominously terrific and imposing cover. It is fucking Charlie Chaplin and his fears about the film industry—his famous self depiction arrayed to the grinding gears. The same is now humourously birthing the earliest stage of an EBM band ravaging humans to create DBM. Fucking hell. Fuckin' right. Let's not get caught up in the music industry's premonitions lest it will be generationally traced to pussyfooting 21st Century lost causes.

  Vocally, K2 sings and speaks—confronting topics revolving around existence. The band's aesthetics are a fervent extension and the Empty Future video epitomizes the rigid aura. Industrial by principle and ajar to non scripting. That is the shit. Fuck what you heard. It is only on reel where high and low values permeate. But unlike that or Chaplin's, The Mad Mane Machine needs a lot of noise. Some kinds.







  Sans romance playing advocacy to gothic tragedy,—Dead Ophelia is death. With its noise effects and sense of auditory attraction, DBM propels KnK's ground beyond Industrial. Sure, K1 and K2 proclaim to metal listenership, but it is more of a creative coincidence on the Industrial-wise Dead Body Music because—what C21 lost causes?—Gardens of Gehenna was crafting such words that saw the light at the millennial turn—and this was meant as a play for aggressiveness and EBM—especially on the non EBM side of things. Kill!

Monday, 12 September 2016

BODYCALL (MECHANICALLY RECOVERED MEAT / STATES OF EXCEPTION


  Bodycall! There is EBM and there is discovering Bodycall. Its mechanical logo symbolises a club crunching menace. Embrace the dark disheveling—
LEERED MYTH CLAIRVOYANCE MACE / MECHANICALLY RECOVERED MEAT.

  BODYCALL - MECHANICALLY RECOVERED MEAT

VITAL BEAM CAME CHOCY - LOCALLY RENDERED

BEYOND CONTROL (2009 COMATOSE MIX)
EXALTED ITS (2900) COMMON CRYO BOON

DISCIPLES OF HEDONE (CLUB MIX)
EXPEND FLUID BLISS (CHIME COO)

YOU AND ME (RECOVERY MIX)
COAX REVERIE (YON DUMMIE)

FOOLS' PARADISE (TOO DISCO MIX)
DISSECT FLOOR AXIOM (AID COOP')

FOOLS' PARADISE (HARSH MIX)
AIR OF RASH HEX (AMISS' PLOD)



Here is a great release I never get enough of. Voy delivers a compelling vocal performance with damn good lyrics—too fitting. Pure hails.


BODYCALL - STATES OF EXCEPTION

ACE LOFT - BOLTS STEADY LEXICON

REVOLUTION AT YOUR GATES
RATES TO VALUE YOUNG RIO T

DISINTEGRATION (FACTORY MIX)
SIMIAN DOCTOR FIX (GYRATE IN IT)

NAKED LIFE
FAKED LINE / FEED A LINK

DISINTEGRATION
TIED TO INGRAINS

ELECTRO HAVOK
CHEER TO VOCAL




Friday, 26 August 2016

BLACK TOWER (INERYA)

  The sleeve art of Inerya portrays a gothic parchment—written in ink. It may pass for darkly permeating—but beyond such, any speculation prior to familiarity with Dark Tower is a chase collapsing on desolation, dreariness, ineptitude.

  Polish duo in the name of Dark Tower writes a condensed, dripping love letter to Electronic music in general. Polished with nuances and out research that rely on patience. The mainstay of the first half is EBM as Marivsz prevails to find vocal matches to the sound surges. Duch may resonate to anIndustrialist with its oral instrumentation, the adulterated throbs around the most part of the first into the second minute mark that pave way to tamed abrasions abstracting the higher second minute. Feniks nicely serves Aggrotech, preparing the grounds for palpitating, hard-hitting drums delivered in Czarna Wieza. An absolute ear-crawling inhabitant. It is so energetic the impact is felt once the lessly pitched intro to the progressing track incurs. A leisure permeating its shank to/fro energy releases and gains evenly around the record.

  Revelations of the letter compel further once Diabel w Nim tinctures in a truncation unprecedented by going the Wave way, including some songs on this section. Merging it with EBM as the vocals ribald-like some words and entrance others. Ending in a very Vangelis manner. Just as the pace starts to relay a relaxation that is Inny, which is Trance In essence—that permeated Czarna Wieza—with keystrokes, Kardio U-turns closure severely. Its placement is only a matter of preference. To end on an upbeat.





  Inerya is an album whose significance is not a mere breath or happenstance. The Mad Mane Machine can commend it for lack of weak tracks whatsoever, where familiarization and enjoyment are lineal. It is a formidable run, but listenable in a single sitting. Designed to create an impact that necessitates (a) return.

DARK BLACK CORE (GATE OF DIMENSIONS)




  In all honesty, I could not complete listening to this release. For all the achromaticness it could adhere to, it is not justice to make it run for almost the better part of an hour. Is this Noise? Relativity applies, as well as as it's dis/praise.

  These are sounds or a structured and slightly ornamented sound from a howl. An indecisive fleet. A hell hole may have graced the cover art and all would work as fine as the portal. It is an instance of where the two or the closest fruit falls from the tree would only work.

  A question would be if pretentiousness would be cape enough to let the listener apply their own philosophy to justify a listen. Heck, had the artist brought about their own, would it still justify? Would it matter if it's a deviant work of an actual musician or just another shot of random? Would Jackson Pollock have mattered if he was no trained artist beforehand?

Wednesday, 3 August 2016

A GAGGLE OF PANELOUXX (ANTS)




  Where Harsh Noise offers bleaker and even terminating permeations, a different spectrum broods liquefied chapters seething forth to project a charismatic storyline. 

  Acromyrmex reanimates the scenario of Simon in The Double. Fitfully quite, the album's sleeve renders the same uncolourful hues of gloom as he mundanely cogs his way regularly in the machine. It is in a certain consistency with the tapering tensions similar to a workplace typewriter, only to shift out excruciatingly as time ticks away. 

  These subterranean wavelengths take a jab at the upper world incomprehensibly. To ponder on the frequencies of Hive Mind Transmissions may offer a sequential explanation to the unity and hardwired leanings on which disgusting humanity is a slave to. James happens to transform from Simon. The mutualism sets in from a one sided symbiosis, down to James' replication of Kleptoparasites.

  Simon's dismantling never gets undone. A semblance relating to the zombie ants, fungi infected with infested brains, starting with bunged up community, ending with individual explosion. The sad suddenness captured in an iota of Anti-Fungus Mutualism. One must pave way for the other. Exit Simon.

Tuesday, 2 August 2016

ANTS

  Description: A physicist and a mathematician doing nothing special—not to insinuate its more than one person. What follows is a discography of experimental, Electronic and Noise emanations. Very well wrought out instrumental stuff regardless of bio. Ants is a one man unit. Applicable to endless scenarios other than the final christenings rendered. Noise up and hail the fucking ants.

—The Antcamp


 


Monday, 25 July 2016

ESPECTROSTATIC (SKELETACTICAL)






  Firing up in a shimmering way. On pointers with dishevling relationships with radiation bursts. Anticipate a wake of reanimations and impending consternation as the blasted astronauts regain unlife. All those years of inertia that have molten any memory of flesh are gone now as a plague unanticipated enlists itself.

  Unlife refines itself with consequential drums pockmarking the synth loops. Stellar outstretch soundtracks to a dreadful reprise. Gear shifting melody with tosses of Synthwave. So what makes this punk?—if not recalcitrations of electro- and synth-wave polyphonics in a much balanced but out there way. Dangling aside Synthwave's super cine feel. Apart from Fuzgati's electropunk, it's the exact opposite of what Fuzgati does, yet the the name might suggest otherwise. Or what the latter should be emulating.

  Those drum hits. That is what its moments are, amid electro key touches as the EP clashes with closure time. Certainly indecipherable culminations; ponderings that lurk opportunistically among the tints of dystopia. A kind of watch-the-space-explode anticipations and ruminations. Blipping out from the upsurging space sargassso. Communication frozen. Dashing Horrorwave.

Monday, 23 November 2015

BOGTROTTER (DARK MATTER)

  


Emanations. Gurgling from below the porous marshes. Bubbles collecting, spiraling to the bog's sodden expanse. Dark Matter, what else pulls the sonorous visions together?

  Cerberus echoes netherworld proliferations. Slushing with vigorous vibrations as foggy psychedelia spouts from the quagmire, in a bass closing SkairHaap.

  Slippery animated frogs exist, camouflaged in a tapestry of moss covering outcrops and lichen draping and veiling trunks—croaking and enchanting quicksand victims to the awaiting Ghoul Train underneath.  

Reptiles something something scaly texture from glitches.

Friday, 30 October 2015

DOPPELGANGERS IX

  Electronic mayhem and the madness of Em's Hip Hop. Hardcore is relativethe sinew holding the two together.

EMINEMƎM
Striker
The Final Destination IV