An album of short circuits, chemical buzz and a romantic affinity with the paranormal – not a global affair – more of a universal one, where home is probably somewhere on another galaxy or dimension.
(June 2010) David Wright has been creating experimental electronic music since the
late ’80’s. With such a unique spectrum of sounds, the material is perhaps renown more for its strangeness, rather than any gentlemanly charm. To date he’s done over forty compilation appearances, six U.S tours and totalling over three hundred live performances.
This latest release sees Wright’s usual innovative approach to the use of sounds and personalized electronics in order to create signature off the wall sequences of aggressive break beats and synthetic energies.
“Current” goes forth with substantial amounts of psychotic electro chaos – plenty of harsh metallic driven pulses shooting rapidly and demolishing targets at close range. As it powers onwards, it’s a suitable and fitting introduction as to what to expect throughout the rest of the album. That said, the quiet guitar manipulation that introduces the next track “Unicorn Killer,” is slightly more diverse in comparison. It’s an eclectic sound with a twist of the unpredictable – promptly blended into a dominant throbbing bass of strong power and devilish drive. Pushing this track are the pneumatic drill style callings, producing a fizzy chemical reaction. It has the groove of drum ‘n’ bass – intertwining ecstatically with more electric guitars. Aftershock, overkill – call it what you will, “The Final Night” is a short circuit of buzzing hyperactivity. Introducing what sounds like a vintage wireless is “Breathing Klaus Fuchs;” also resembling freak Martian activity on radar and hitting the frequencies with its squints of short sharp shocks. “Cold Front,” takes flight alongside a gathering of angry wasps, or so it sounds,
ravenous for any prey. “Raunchy MC. Stabyou” brings forth earthy and almost dissonant sounds – plenty of crashes and wild sanctions here as laser beams send out untamed gestures. An almost helicopter sound sweeps through the track, before high pitched harmony creeps in, making it almost musical. The dry and barren like scientific experiments that are “Neptunium” provide vivid images to life forms on Mars. In contrast, “Wet Wash Twilight” contains tuneful and faint stabs of higher pitched timbre. The vibrant pulses make it an illuminating nigh time venture across rugged territory. “Ocelot Caverns” completes the album and is a suitably calm offering which is immensely computerised and droid like.
Christy Cores is a jagged journey through a vast expanse of disorder anarchy and bedlam. It’s an album of short circuits, chemical buzz and a romantic affinity with the paranormal – not a global affair – more of a universal one,
where home is probably somewhere on another galaxy or dimension. With oblique movements, each track is set on the etched lines of a crazed electronic concept album, resting on unsympathetic pandemonium and mindful wanderings, not to mention the unique interaction of choppy dark rhythms, all processed through a blender. Prepare for a blind thrust of energy.
Christy Cores is out now on Noize:Tek.
