We All Die states the inevitable, but it also aims for audible perfection where slow-motion electrical sounds resonate, rattle and rummage. A bemusing yet impacting downtempo EP, this is multi-directional music for the senses—on and off the dance floor.
Marshall Applewhite has had a handful of music released on How To Kill, Clan Destine, Senseless Neon and his own YoSucka! Music. With Detroit Underground, several EP’s and a full-length leftfield smorgasbord titled Human Individual Metamorphosis have more than infiltrated the circular cosmic spot we inhabit. A product of genuine, raw and submerged electro-techno, We All Die gears itself towards darker corridors.
“3 Years of Decay” shimmies an industrial techno slant, clang and ferocity. Over 5-minutes of tasty repetitious thumps, it continues to grow organic tentacles. The title track smears a lopsided pattern around echoed four by four beats and eventually bends and twists its analog rhythm. “Stop Throwing UP” is where Marshall Applewhite ignites his gear and breaks through a de-tuned haze filled with hypnotic claps and low-end rumble. “Buried Face Down” veers in a similar pathway where scorched acid lines contort in all directions and yet a vivid old-school layer is unearthed. Some might recall similar output that once came out of The Building in the early 90s—a prolific Plus 8 Records studio where Plastikman and cohorts orchestrated their sonic signatures in Windsor, Ontario—situated across from Detroit. It all comes full-circle with “Milt” where a myriad of synthesized blips and bleeps are sporadically placed around bustling bass beats and broken melodies that dance together in harmony. “Milt” melts in a sort of early Aphex Twin meets Lackluster dynamic.
We All Die states the inevitable, but it also aims for audible perfection where slow-motion electrical sounds resonate, rattle and rummage. A bemusing yet impacting downtempo EP, this is multi-directional music for the senses—on and off the dance floor.
We All Die is available on Detroit Underground.
