Title: Empty Recycle Bin
Keywords: Breakcore, Glitch, Noise, Mashup
Reviewer: Alex Spalding
As per Arnaud of Sirona-Records’ suggestion, I decided the next review I would write by random number generator. Siro183 was the result. Looking at the name of the artist and the keyword tags I was, at first, frightened… then I eased up and let my ears take whatever abuse may come for the sake of art. Luckily, it was ok after all.
The first track, ‘Ingles Hospital Call Dub Glitch’ is like listening to Kid606, only you didn’t have to pay for it. Glitch is definitely the keyword here, fucked up sounds bounce around in your head, ricochet off of things… it’s pretty wild, and short, but par for the course as far as the rhythmic, noisy style of glitchmaking goes.
Next, ‘On A Yacht With Marilyn Manson Geting A Tan Man’ is, again, very short. It’s electropsychedelic at 0:38/0:39, then for a second almost sounds like it’s going to delve into jazz terrain with a single, short note from a sax cutting in. The track afterward, though…
… which, by the way, is called ‘Bonita Rotten Applebumbum A Tribe Called Glitch’ is definitely my favourite of all, going right for the throat with some glitched up jazz arrangements. At 1:09, flute fucking. It sounds like Jethro Tull being strangled. Even later, all kinds of uptempo funky fusion sounds are manipulated to great effect. “Applebumbum”? Whatever, I’m loving it. It’s uniquely beautiful, not in the same way that maybe an album by Oval is, but for it’s sense and feel of mashed up musicality.
‘Take It Easy Kiddo’ is more rhythmic glitchup noise, while some kind of child’s toy piano melody refrains frequently.
‘Snorting Seroquel’ sounds about like it sounds it would… it’s some harsh glitch and electronics. Meanwhile, samples of a woman talking about somebody going crazy and shooting a bunch of people are mixed in, which still sounds like a better time than bath salts. I found little here to grasp onto, as far as my musicality, just sounds rattling off in a druggy mess.
This is followed by ‘PAR! Tea’, which is a bit more fun. Hip hop glitch-ups ensue. Lots of beats beating off. Clap rushes and 808s pop in on occasion. The method to the mayhem seems to involve bring in new samples of tracks every few seconds, with occasion distortion and bitrape. My favourite part was at 3:03 (was that on purpose, as I could have sworn I heard an actual 303 in there), when some sparkling disco track comes in. Eventually, some kind of rock&roll classic jam comes in and is subsequently exposed to well-worn manipulation techniques. And… is that Pink? Fuck.
‘What’s Wrong With Me’ is not so much the final track… well, I mean, it is… but it is also the penultimate question you’ll have wanted to ask while listening to this album in its entirety. The answer never materializes, but while you hear at the beginning this sort of light techno 4/4 pound, background hiss and fuzz, occasional blasts of bitnoise, all eventually giving way to screamy, distorted electronic toy melodies… you are likely to conclude for yourself that it must be a derangement of some kind. This track goes on for 12:52, requiring a bit of investment, but it stays interesting in a way, mixing things up near constantly. It’s the audio equivalent of an easily distracted child playing with a seemingly endless number of toys and breaking most of them in the process. What’s more, many of those toys seem to be music of a decidedly pop nature. Now that TTTRRRAAASSSHHH have emptied their recycle bin, I can only hope that means that the Eminem track with Dido samples has been removed permanently from whatever folder it had resided in.
I found this album, as a whole, to be a mostly run-of-the-mill glitch album with few surprises, though that 3rd track was definitely the brightest spot and made it worth getting in my honest opinion. You’ll probably realize what you’re getting into downloading this thing, so I’ll just provide the link.