Lengthy progression of monotonous chaotic structures with only subtle hints of repetition, glued using reverb on things barely reaching the idea of understanding the function of notes.
Clusters and bits of sound engage in complex interactions, trying to morph into a cohesive body, but the form seems to escape each time just before solidifying. Hints of order or harmony are quickly overwhelmed, and by the end, completely burried under layers of intersecting accidents.
The overcomplexity of drums, reaching levels of spaceflight through curved spacetime.
Dynamic, rhythmically active, contrasting motifs dominate the album, emanating shades of IDM, glich, and post-industrial music.
In a noisy and chaotic world, many of us are looking for calmness or emptiness. And when we finally find some pieces of silence, we understand that they are not empty at all.
Broken and syncopated stream of percussive attack, punching through disharmonic leftovers in reverberation, not welcoming you at all by constantly reminding of its continuously corrupting state.
Sticky and cold silicone sealants, spades and screwdrivers allow you to forget the crippling life threatening drama of Strict, Event and Resistance. Another pile-up of sand which was forcefully shaped into something comprehensible and mostly even danceable. Disclaimer – the danceable part is evaluated by the rhythmical insanity of the brain in control of the sequencer. Apply incorrectly and it’ll break your spine.
This album is about beat impressionism, when the beat does not make the rhythm, but the mood instead. Breakcore and IDM inspired mess of beats and breaks and plastic.
Complex rhythmic combinations, constantly getting faster to the point of losing the structure and becoming a vast halo of drum-like noise tearing the last orchestral sounds, that couldn’t get ready for an end of a process that didn’t even start, and hopeless melodies that aren’t sure if they are supposed to exist.
The sky lets the darkening and rising time to be. Space is conquered by the higher element. Silence… She’s sitting here a couple of hours already. She observes her surroundings with a paraminic look, she waits until she sees again, until she feels again what she saw yesterday. That time northeast wind loudly running by asked her to look at trees standing naturally regularly. They looked calm and stiff, but when the wind passed their leaves whitely, the leaves breathed freely and started whispering silently, moving synchronously with stars.
Revealing complex interplay, embryonic sensorial analysis and epidermal toxic particles under CPU demands, Hypercube sonic display extends to systemic insensitivity, parametric establishment and modular telepathy over side effects of intercourse adaptation and cosmic lobotomy rituals.
A sandbox where random ideas and experiments merged into incomplete forms while searching for sounds and compositions, which sometimes became source material for new tracks.
“Miszka” is a cassette tape LP, firstly produced by Nicolas Lafay and released on the 3rd of March, 2016. It is now once again released in digital version on Electron Emitter Label.
Regained, recuperated anger and blasts combined with illogical analytic attacks, resulting in a powerful complex forge of rhythmic structures which are hard to stand and fathom, coupled with the angry synthesis of orchestral and electronic surges of extreme insanity and sadness put at the precision of a scalpel.
The core of this album was an experiment – an analog connection of sound and image. By sending a sound signal to a screen in such a way as if it were visual information the screens started to show imagery and by testing four different approaches towards using sound and testing how they look in this particular connection /inter was formed.
