“My name is not Mark and I wish to be reviewed!”

From: Julian Alnemark

“I’m Julian!

Got recommended to contact you guys by Tooth_eye when I asked him about people who might be interested in reviewing my next release.
My artist name is Marcanta and together with Blaerg, Synthamesk and Daed we have created a release that comes out the 4th of September called Strobosonic.
This will be released on the Bulgarian label Mozyk.
Anyway fingers crossed that you will dig this and if you are up for reviewing it, that’s awesome!
I briefly viewed your blog and realised I have to read some more to make sense of what this is about so that’s good!
Have a great day!”

Hmm…

HMMMM…

… not a Mark, huh… well…

… I guess, then, it’s ok… but, I’ve got this strange feeling that something fishy is going on here…

... just eyeing this album art for anything suspicious...

… just eyeing this album art for anything suspicious… looks good, though…

Artists: Various
Title: Strobosonic
Label: Mozyk.net
Cat#: MOZYK015
Keywords: Drill & Bass, Breakcore, Glitchcore, Electronica
Reviewer: Alex Spalding

… after that one weekend, when KN and I wrote all those reviews for people named Mark, and we swore we’d never review another Mark again, forever… it seems like some of the Marks have been getting a little crafty, trying to sneak their way in. Sometimes, they even put whole names in front of their Marks, like we won’t notice.

I think this might be safe, though… so, I’m just going to dig in.

The first track is by Marcanta, titled ‘Outbreak At The Arcade’. There’s a dirty robot talking to us… some very deep space in the mix. Chopped, harsh breaks zoom past… I feel like I’m bouncing around like a pinball inside a giant arcade machine, but that’s not completely accurate, I’ve actually been hit by a shrink ray, everything sounds the way an ant might receive the sound of a pin drop. The rhythms beat against my head, while heavy sequenced bass noises are banged out percussively. Like with a lot of breakcore noise, it’s easy to get lost in here, it’s like total body hypnosis, jagged elbow jams in a crowded train. It gets to a point that’s very glitched, then goes into a kind of straight-ahead vgm-esque thing, before that gets cut up and wrecked. There’s a point at which I think I leave my body and kind of go someplace else, just before these music box bells come on… and I realize, wow, this track is over 17 minutes of complete annihilation and I’m only a little over halfway through! Boom… liquids are surging through, pulses are undergoing ionization in my headspace, then the best, some soaring arpeggio things! Wow… just over the top completely. It’s like some kind of SNEScore right now. Landing upside down on a pad of obscure noises, game atmospheres!

Next up is ‘Burning’, by Synthamesk. I hear low cello, and some rapid fire jazz drumkit arrangements. It’s very moody, with a lot of ferocity at times… I love the choir stabs! Easy to get lost in this one, too, but it’s a radically different energy from the previous track.

‘Nebulous’ is also by Synthamesk… some heavily modulated bell tone granules hit my ears, in abstract melodies. There are strings, pitched high and loud to rattle your eardrums. The rhythms are manic, like crayons scribbling up the walls of my head in vivid hues. The one thing I’m picking up on so far is that Synthamesk likes to get intensely orchestral.

The fourth track is another one by Synthamesk, ‘Wrangler’, which immediately forces a mental image of cowboy jeans. The kind of jeans you’d wear while, uh, wrangling something, presumably. Looking for an answer as to what, I hit play and hear a loud surge of synth noise. It winds down, becomes an escapade of synth chord stabs. The breaks here are uptempo, but not as scattered as before. It hits hard, a punch in the ass like Shaft on the beat. Bass rips in, tearing a hole in the fabric of the space-time couch infinituum, ruining the upholstery, covering the fourth dimension in shredded stuffing. Something’s being wrangled here, though, and I’m pretty sure it’s my brain.

After a three-track hiatus, Marcanta returns with ‘Miomblo’. I had to check, and yeah, this is another long one… about 10 minutes! The energy gets frenetic almost right away. A lot of the melodic components feel like absolute chaos… playful, but deranged. I feel like I step outside of this one a bit, completely away, looking at it from a hillside and trying to see the shape of it all from cubist angles. It seems, from there, very well put together, kind of like staring at a complex figure made up of several smaller figures with a kind of peculiar bio symmetry. It’s only when you step back inside that it becomes this whirlwind, things flying out at you seemingly at random. The sounds so often are of a familiar, game-like nature… the track feels like we’re putting together a puzzle. It’s like a buzzy 5 AM bender on Red Bull with a handheld gaming system or something. It’s like forgetting to shave, you’re still so awake. I like the section with synth bass delay sequences, a moment of a kind of peace that is not meant to last as heavy percussion hits the floor and shakes the place a bit. I love the cosmic leads, arranged almost like in a random configuration within a scale, auto-lead style. Right after that it’s like an artificial 64-bit space safari. Marcanta just gives it his all on these tracks.

The track that follows is by BLÆRG, and it’s called ‘Noxious Luxuriance’, which is a pretty difficult concept to imagine. Like, I’m envisioning a pearl necklace laying in a puddle of vomit. Well… it starts of with some funky filter breaks, gets very organic spaceship on me, very neuro. Acid drips from the tongue of some Giger-esque abomination burn a fractal hole in the floor that we fall into… and then, where else can we go but further in? This one’s all about that neurotoxic bass.

BLÆRG continues with ‘Unnecessaria’, knocking us out of the park with some excellent breakbeat slamming, very smooth and ticklish cuts and edits on this one, too. I like how this one just feels like it’s set off, it can’t stop, finding new delightful ways to push sound through our interface. Total fireworks.

Right away fierce and lush chill tones are rammed through at tempos they only rarely climb to for the shortest of the Marcanta tracks, a remix titled ‘Miomblo (BLÆRG Mechanistic Vegetation remix)’. It’s hard to describe the sounds here, it’s such an intricate tangle of angular synth pads, nano-mechanical bass mutations and scrambled breakbeats.

Lots of thick, melancholic breakcore at the end with Daed’s ‘Marcantanation’. Sharp saw tone on the low end that feels comprised of heavily clipped up percussion. The ambient sounds floating around are great; lovely bells back there, just audible, while the grooves lose their shit in the mix. Heavily reverberating sharp cuts, and into some very wound up break stutters, dark and deep bass pulses, additive synthscapes.

Well, I’m happy I didn’t uncover any Marks hiding this time around. Otherwise, I just wouldn’t have been able to talk about how this is a really great compilation that you should definitely be hearing for yourself as loud as possible on some excellent speakers. Or, on whatever you’ve got, even if it’s like… an AM receiver out of your dad’s oldsmobile, or something, I’d be like, rip that out and crank this up! And you’d be like, “no way, my dad would be SO pissed!” and I’d say, you know, you’re right, we should just go find a decent pair of speakers. So once you’ve got those, just click the clicky thingy below to hear Strobosonic in all it’s clickable amazingness:

https://mozyk.bandcamp.com/album/mozyk015-strobosonic

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