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The showcase opens on buzzy aggro-tronica... Flailing e-beats get right to buzziness as The Xynochronous Weasel pounds into "the x-dimension factor" where sputtering electrodes and intrigue-laden synth glimmers are systematically pummeled. As if unleashing the full assaultive firepower of a galactic battlecruiser, the rhythmic salvos from Slave Cylinder's "kalchbülcenter" leave the eardrums burnt, shattered crisps.
Chris Lieghy's less-invasive metallic cacophony "penetractal" (3:07) specializes in tinny energies and high-speed beats.
Some much-needed space is afforded as the celestial drifts of "silk" unfold into a cinematically spooky expanse, adorned by Zed's off-kilter clankiness; the piece then shifts into a more-Easternish motif.
A pleasantly odd tropical/industrial hybrid, Aslan's long-running "mother monarch" (7:35) punctuates her dreamy synth clouds and rippling interphases with coppertone clangs.
Shawn Delaney tosses a bucketload of sci-fi/B-movie samples into his pulsatingly electronic "lunatic fringe" whose backdrop often sounds like a construction-zone in some droid-city.
Wandering through the semi-tribal murk of "myrrh: pax interna" by
Part, one encounters disembodied voices, flutey wails, weird echoes and other mysterious activities.
The recipe for DrXL's live performance of "post-hip-hop" calls for howling wolves, pattering cymbals, scritchy ripples, icy tones, rough blares and street-ready beats. Jazz flavors sputter in brassy cut-ups as
Bobby Mono pits "mingus vs. the megaloms" in a spastically rhythmic battle.
A couple of tracks take very different approaches to the vocal thing;
Game Boy's "electronic bliss" take an electro-Goth Trent-Reznor-wannabe route which various effects don't help despite an attempt at thoughtful lyrics... The smoothly soulful baritonal crooning of Grier & Bentley's "to be not" are worlds away stylistically... until they're dragged into a coarse, droning void of wild e-mutations and layered hyperechoes.
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