/Dark pop, Neoclassical, Gothic pop, Musique concrète, Leftfield, Art pop, Experimental pop, Darkwave, Tango, Avant-pop/
Comment: Radikal Satan is the project of César Amarante, and Mauricio Amarante whose 11-track issue reflects upon their cultural backdrops being related to Argentina, France, and New York. The bunch has been managed in a way to bring forth elaborate, dark-hued pop songs with many threads of tango twists, gothic synthesised upper templates, vivid guitar chords, and Parisian street sounds based on lofty accordion sounds. At times these notches of the sonic backbone are variegated with mixed warped spoken word snippets and concrete sounds (for instance, Exilio en el Exilio) or songs are saturated with excruciated, psychotic vocal deliveries. And those half-orchestrated noises and ominous progressions surfacing here and there used to hit your conscious mind. Behind those visible figures you could perceive shades coming out from the other side and on the other side it arouses your brain to cast aside the control over your unconscious mind. However, the issue is saturated with more elements than discovered above. Yesterday I reviewed Faerùn`s album The Night (2013, Test Tube) which provides a quite similar approach both ideologically and sonically because of recruiting an avant-garde sonic palette to exert it for creating music in conjunction with pop songs formulas. Similarly, both albums are murkily full-fledged yet somehow recognizable and intimate ones. In a word, the output is both intimidating and mesmerizing. Call me morbid, call me pale but I feel myself totally satisfied.