is that? Is it a reaction to electroclash music having been so
prevalent in the beginning of the 00s? On the other side, it could be
admitted to be a subdued and strongly decelerated version of
Ladytron. Samarah provides a remarkably more lo-fi, primitive and
minimal counterpoint to it. It is just the truth in a half measure.
The listener can hear progressions toward the aesthetic of dream pop.
Or are the progressions instead of it something reflecting upon the
more immersive and ghastly trajectories by Throbbing Gristle? The
truth is obviously somewhere out there. The issue is a part of the
discography of Nishi, No Type, and Panospria, a quite weird and
important angle from Canada within the netlabel/webaudio world. Indeed, robots
smile too but the question is whether the smile is human-friendly or