Fans of brooding, dark and distorted electroacoustic sonic mayhem—much in line with the works of Not Breathing—will revel in All Hail False Gods‘ wandering melodic pulse and blocks of industrialized audio abstracts.
Maduro returns with a subdued fury on All Hail False Gods, his eighth album since 2004—not counting a few demos we received around that time. This being his most fleshed out and varied assault for the senses, broken beats, luminous rhythms, eroded textures and industrial clip-hop themes are buried within a wash of analog and often eerie machine music.
“Bit Map Mary” is an eclipsing and very much alive slice of abrasive electronic distortion tied to brief vocal bits. Between the glitch-bass and many tools that collide together, a consistent mesh of slow-moving crumpling allows Maduro to flex and contort sound easily. There’s a vintage and mangled Gescom flavor to “Cosmodrone”—its fractured pulse breaks apart carefully. “Everything’s Gone Red” takes on a classic Scorn reflection—mid-tempo percussion fuses to low-end as “Hare” eradicates the experimental tagline and dips into synthesized knob tweaking. “Jackals”—a highlight of the album—sheds minimal glitch’n grit as it slides across the spectrum of sound seamlessly among its harmonic tentacles.
Fans of brooding, dark and distorted electroacoustic sonic mayhem—much in line with the works of Not Breathing—will revel in All Hail False Gods‘ wandering melodic pulse and blocks of industrialized audio abstracts.
All Hail False Gods is available on Octofoil. [Soundcloud]
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