10/05/2026
I expect the most controversial moment of the 4-track piece of art is the last track, or "Frequency Modulation", where the frequencies are modulated for 33 minutes. Basically, the same cycle repeats itself seemingly endlessly. The other three tracks sounded more or less the same length for a total of 33 minutes. On the other hand, this sound experiment is fascinating to listen to, because it is basically a demonstration of the power of the modular synthesizer as a machine, revealing itself in its beauty and nakedness. The frequencies bubble in a way as if there is no tomorrow -- of course, I don't know why such a behavior would be important in view of the end of days. If we take the lyrics of a well-known punk band as a basis, then it means something, but what, I don't know. Taking all the other tracks into account, industrial music acquires, in addition to its original meaning - as music coming from a production line; music as a mass product - also with a more ominous meaning as a reference to the self-image of a person alienated in the industrial complex, where consciousness plays tricks, evoking ghosts and distorted perception; where the sense of time and perhaps the definition of time is hopelessly confused and where memory plays tricks. The sounds pulsate unnaturally and distortedly, as if unpleasant feelings from deep within the subconscious. In light of all this, returning to the aforementioned 33-minute composition, it must be admitted that the original negative assessment changed, insofar as it acted as a dispeller of dystopia (being dystopian itself - although to a lesser extent) and revealed the freedom to manipulate exaggerations so characteristic of industrial music. But if music has a therapeutic effect, then there is nothing to be ashamed of. While the first three tracks speculate on the neuroses, psychoses and fears so characteristic of industrial music - in which one can again feel the age-old violence against ordinary people by those in power and at the same time defiantly bypassing these authorities and reflecting unusual behavior as rebellion, time is taken to a standstill there -- phlegmatically stepping and stepping around as if it were centuries; in short -- this sound image moves exactly as it suits the artist, forming the backbone of the sound with a lingering, pleasurable satisfaction. Taking the aforementioned industrialism as one premise and, on the other hand, arbitrarily dealing with it in terms of both time and form, the artist's industrial-daemonic-industrial-demonic character is revealed. A fiery cocktail of creativity and freedom. 8.5 (8.5-9.0)
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