Title: Bootze Bass Errors
Keywords: Chiptune, Breakcore, Glitch, Gabber, Hardcore, Experimental
Reviewer: Alex Spalding
As part of my late attempt to bring to your ears the sounds that will just as soon break them, I am pleased to review one of Goreky’s albums from the Noise-Joy label. Goreky thinks it’s shit, I personally think otherwise and must always work to convince everyone else of the merit of these sounds. Björk once described the jungle genre as “fierce, fierce, fierce joy… sort of ‘I’m just too happy, I want to explode.'” As far as I know, she has never listened to this. If she did, she’d have to re-write the books. Such a description would be my take on Goreky’s work, not only here but also with much of the material he created and released on his own label Rainbow Diving Butterflies and elsewhere. Goreky’s is an ear I can trust, and it is a surprise it has not completely corroded after all these years and fallen off.
But, fuck all this, let’s listen to the noise!
Track 1 is ‘Beastie Bass’, and it begins with some distorted bells and bass. There are all kinds of sounds, distorted to shit and spread all over the mix like so much faeces. It’s kind of like vgm, but more like venereal glut music. The bass frequencies are all over the place, it’s total destruction. Best to listen with the volume all the way up.
The next track, ‘Revenge Of The Rad Red Rat Ravers’ is like gabbercore or speedcore. Over the mayhem of the beats is a sort of ambient siren. It breaks down in a section with warped, sad synth sounds and mutant vocal bits. There’s a deathmetal speedthrash section toward the end that closes with some odd vocal clip, a woman’s voice imploring us to break out of our cage. But, where are the bars? It is difficult to determine while listening to something like this. It feels as though the world has opened into indescribable vastness. This is audio barbarism, cleaving an exit back out into reality beyond the shit we thought was life.
Maybe I am overthinking this, overdramatizing it at least.
Moving on, the following track is titled ‘Megamodo’. There are crunchy, glitched up drum bits, what sounds like a heavily fucked Eurobeat track being gorged upon by the undead. Arcade electronics flicker rapidly in the mix like a rush of amphetamines.
‘Bustablast’ is like a slow-motion moment out of a science-fiction horror thriller that just got ramped up on speed. The bass is totally deranged.
’50c For Heroin’ starts with a vocal clip. “I used to be a heroin addict, now I’m a methadoneeagh…” The bass and cut-up samples hit you in the face repeatedly, like a brutal gang initiation. There’s some Gregorian chanting going on at one point. This is breakcore taken beyond the point it could even be called breakbeat or hardcore, it’s just a wall of distorted and percussive noise thicker than cigar smoke.
Then it’s ‘Aaargh2short’, which… is too short. Argh! There are some insane breaks, samples, bass and chiptunes going off in the mix. It gets kind of house for a bit, with a blast of distbass on the offbeats. “Stay in school and stay away from drugs.”
‘Wasmugljankore’ starts off with what may be some vocal clip from a rap or r&b record that gets treated with some wonky effects. The speedbass starts up, wrecking your shit. Super-distorted rolling bass cuts out into something that… I don’t know what it is, actually, but it reminds me of a Cossack dance. This leads straight into some deathmetal samples, more distortion, chiptune, hip hop… I think there might even be a Timothy Leary vocal sample in there. It’s extremely varied, but it all makes some kind of sense to me. Toward the end, I’m loving the Cossack stuff with the breaks!
After this is ‘Noxious Breaks Teaser’, an ascending ambient chorus with glitched up distorted electro rhythm cuts.
‘Xtrem Voice Error’ brings back the speedgabbercore, it’s like a whirlwind of distortion and bass with harsh screaming, later replaced by video game tunes and back again repeatedly. It ends with a short, shrill electronic laser zap.
Following that is ‘No Skool Jungle’, which is jungle of no school I’ve ever heard. Extremely thrashy distorted pulses fire at like uzis, only interrupted on occasion by any other sound, at one point a jungle breakbeat, at another point someone going “laaa”.
‘Batman In The Air’ stretches out vocal sample and adds a grooveless industrial beat. The vocal treatments continue in a variety of unusual and interesting ways. It’s totally sick, and Batman was never the same afterward. The beat gets more and more intense, at times sounding like a sci-fi starfight on drugs.
‘Dont French Kiss’ is another bassy wall of trash and noise, voices completely fucked up beyond the barest recognition. I think it was hip hop once. Maybe. There’s a kind of groove that develops, though it’s very off the grid as far as bullshit notions of acceptability.
‘Timmirave’ uses South Park samples and other random stuff, throwing a lot of it over rapid bass rhythms and melodic percussion.
‘Bloddy Badman’ brings more of the low, distorted bass I love, adds a layer of breaks and “fuck the police” samples, plus some ragga vocal shit. It’s noisy and awesome.
Last is ‘Riot Bits’. It’s total chaos breaks, heavy on the distortion… sounds of things being banged upon throughout the mix. More screams, more glitching, uncompromising bass that rumbles the bowels.
You’ll know when you hear this album that you’ve found the source, the very essence of life. Life is a soundwave, after all. This is what it sounds like. You can get an ear on it at the following link: