(02.06.06) Noise/Girl’s Discopathology is the second offering from the Killer
Pimp label, helmed by Jon Whitney of Brainwashed.com. Killer Pimp is
responsible for the release of Kate Mosh Dynamo, a less drum & bass
infused side project of legendary producer Panacea, which retains his
signature stark terror beats and textures. Discopathlogy solidifies
Killer Pimp’s reputation for quality fierce beat-oriented sonic
assaults.
Beginning with “Before the Carnival,” an uneasy wash of
reverb and distortion that is cautiously subdued. The lull explodes
into the title track, a rampaging equalizer-killing disco dance
anthem. This is where Noise/Girl shines; the mix is clear with high
attention to detail. Unlike many of his noise contemporaries,
Noise/Girl embraces frequencies across the spectrum, and assigns
pockets of the spectrum to various elements of the mix. If Daft Punk
traded their skill with the filter-bank for brutal distortions, the
result would bow before the dynamics of Discopathology.
This shit makes your ass move. Harsh noise has never been so fun.
The album progresses with sequential lulls and “dance” songs, ripping
samples and themes from well-known tracks, such as “Alive,” which
bastardizes the classic “Staying Alive.” The beats behind the
brothers Gibb are thick and unforgiving, relying on a throbbing kick
augmented by squealing oscillators.
Noise/Girl isn’t going to hit the Top 40 any time soon, but the smirk
and nod to pop sensibilities found within Discopathlogy lies woven
within the power noise eclipses of many stars.
Discopathology is out now on Killer Pimp.
