One of those accidental finds where I was simply attracted by the name of the label; ‘Monsters of Doomcore’ (yeeeah!) and had to investigate…
Although when I looked up TPROE on Discogs and saw that he’s already supposedly released 25 albums(!?!) in the last 16 years I had to laugh. It’s surely impossible, for multiple reasons, to take any artist who makes that claim seriously (unless they’re maybe The Fall or the Melvins…and even then…ya get me?) That discussion aside (and unfairly perhaps? having little or no interest in exploring his back-catalogue as a result) there are definitely a couple of stand out warehouse-sized crowd smashers here.
I don’t really want to know or speculate what “Densely Packed Hitlers” is about? (especially with the label press-release touting over-population and that a “great culling is coming”…) however, the production does have expertly crafted, massive, crushing low end, clearly built to level huge space arenas in a cold rush vibe.
Speaking of that Italian broken beat techno sound, Guillaume ‘Dr Macabre’ Leroux has just dusted off his old hard drive archives and revealed some very tasty cuts in this vein – mournful, radioactive sunrise dirges over piston juddering, industrial beats. I’ve cherry picked them, although there aren’t any Soundcloud/Youtube uploads (as yet). Check them on Juno? :
7. ‘Before Dawn’/ 10. ‘Crying For HELP’ / 13. ‘Sunday Caramel’ / 18. ‘Late at Night’ / 19. ‘Today is a Good Day to Die’ (my personal favourite)
Sticking out like an iceberg on the EP – this (first couple of minutes…) is powerful low end, tsunami, bass power noise with impressive menace and build.
A one off maybe? because the rest of the material succumbs to the leitmotifs of label boss Rabit (and the obvious temptations of sucking up to the boss, clearly) – jittery, scrunchy, spastic, stop-start, sonic doodling without intent. All very archly ‘abstract’ and ‘détourned’ flubbery sound design à la IRCAM/Stockhausen, but to what purpose who knows?
We often talk about music, or frame it, in terms of “going places…”, “going somewhere…” but this goes nowhere, and not in a good way either (like Satie’s ‘Vexations’ or La Monte Young drone marathons say?). It’s just f***ing irritating listening.
Very occasionally “Dirty” Dubstep (or is it still “Brostep” I wouldn’t know? or care) throws a curve ball and delivers something have decent, whether by accident or choice is another discussion altogether. Unlike its cousins (“Dungeon”, “Deep”, “Wobble”, whatever) this particular field of production suffers more “problems” than any other – one of which is it shares much with the Hip-Hop world: either the tracks SUCK! – and I mean criminally, or they bang! There’s rarely any grey area, getting away with it, or in-between redemption or interest. Ultra (adolescent) masculine, testosterone laced and more often than not bordering on the clownish, in the producers attempts to “out-goon” each other in the ludicrous bass/midline/pseudo-boombastic wankery, it often seems about as appealing as a sweaty rugby club changing room and dodgy, post match drinking games.
This one’s an industrial banger though. Reined in and stripped back, with quality cybernetic, metallic hammering, drilling beats, cock backs etc and a big underpinning sublow pressure.
A superb new EP of pitiless, dystopian bleakness from the blasted, no-man’s land specialists DNS.
Far from evoking an underwater glide as the titles suggests (it just sounds too jagged, too ploughed up and ruptured to evoke the cold liquidity of the atlantic trench? A grim hunt, sure, but) ‘Radar’ feels rooted in a cold and lifeless landscape: Sea or land metaphors aside, this is probably their finest black ops, deep insertion yet. A rusty metallic beat clanks hard through the sinister creep of mustard gas FX and drone, while the bass saws and belches are so smeared out by reverb they merely fizzle limply above the wasteland like desperate flares put up in panic by wired sentries – highly unnerving and original.
There are possibly some comparisons to the likes of ARtroniks et al. to be made here. There’s a definite sub-cadre (away from from the big name dubstep ‘dons’ and labels) expertly crafting away in grim defiance who mercifully don’t seem to give a shit about producing according to the whims of the times, who don’t want their sound to be decorative, but true. There’s no false musical consciousness, just a kind of stoical grunt work that hits harder – DNS are dug in deep to their territory in this respect. Just don’t try a frontal assault on their position!
What a find. I love it when I hit the jackpot in my digging! This man is totally on point with his vibe. Fresh out last month, ‘Break Off’ is pure restrained intensity and a very deep space mission. ‘Steady’ on his Soundcloud page is, if anything, even better and more reined in? It needs a release soon.
This is almost a new industrial paradigm mercifully casting off the old EBM aesthetics? Cyclical springs, pistons, clanking, steam, pressure, furnaces burning in the night. Our old friends are still there but this is as futuristic and striking as the opening scenes of Bladerunner back in the day and absolutely what we should be striving for sonically right now. No bravado bullshit, ego-less. Just technical and cold and dripping with hydroponic bass groove.
Losing chronology here, but too many tunes to big up. I’m looooving this gnarly tune off the Under Surveillance Vol 1 compilation on USV Recordings. Painfully hard, metronomic, industrial snares with a haunted, blasted, no man’s land mood. Call for the rewind!